Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Colombia and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1975.
I'm losing my edge.
To all the kids in Accra and Shanghai.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Silicon Teens to the dance kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Velvet Underground. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
June Days,
Symarip,
Art Ensemble Of Chicago,
Drive Like Jehu,
Lou Christie,
Saccharine Trust,
Cecil Taylor,
The Martian,
10cc,
Kango’s Stein Massive,
Lakeside,
Whodini,
Angry Samoans,
Matthew Halsall,
Cabaret Voltaire,
Deutsch Amerikanische Freundschaft,
The Last Poets,
The Busters,
Wighnomy Brothers & Robag Wruhme,
Robert Görl,
Wasted Youth,
Grauzone,
Jacques Brel,
Talk Talk,
Echo & the Bunnymen,
H. Thieme,
Pantytec,
Bootsy Collins,
Pussy Galore,
F. McDonald,
Louis and Bebe Barron,
Justin Hinds & The Dominoes,
Junior Murvin,
Young Marble Giants,
The Gun Club,
Gang of Four,
The Count Five,
The Knickerbockers,
Gang Gang Dance,
The Gladiators,
Pylon,
Lou Reed,
Liliput,
Cal Tjader,
Selector Dub Narcotic,
The Associates,
Sound Behaviour,
Sunsets and Hearts,
Susan Cadogan,
Oblivians,
Radio Birdman,
The Slackers,
Popol Vuh,
Index,
the Fania All-Stars,
Dr. Dre and Snoop Doggy Dog,
Shuggie Otis,
Dennis Brown,
Niagra,
Heaven 17,
the Normal,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.