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 Tanzania and from Houston.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Robert Görl to the dance kids.
I played it at the Hacienda.
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 Sonics. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Magazine,
Dorothy Ashby,
Youth Brigade,
Khruangbin,
The Standells,
Scientists,
Bobby Sherman,
The Monochrome Set,
Lou Reed & John Cale,
Supertramp,
Suicide,
The Trojans,
Pharaoh Sanders and the Fire Engines,
R.M.O.,
The J.B.'s,
The Beau Brummels,
Metal Thangz,
Lee Hazlewood,
The Star Department,
Pagans,
D'Angelo,
Mandrill,
Eddi Front,
Parry Music,
Cameo,
Sun Ra Arkestra,
Avey Tare's Slasher Flicks,
China Crisis,
L. Decosne,
Lonnie Liston Smith,
Masters at Work,
Hasil Adkins,
Anthony Braxton,
DNA,
Gichy Dan,
Whodini,
Pantytec,
Lizzy Mercier Descloux,
T.S.O.L.,
Vladislav Delay,
The Happenings,
Marine Girls,
The Real Kids,
A Certain Ratio,
The Leaves,
Nils Olav,
The Dave Clark Five,
Amon Düül,
Lower 48,
Ralphi Rosario,
Dennis Brown,
The Knickerbockers,
Major Organ And The Adding Machine,
This Heat,
the Germs,
Chrome,
Harmonia,
Trumans Water,
Deepchord,
Popol Vuh,
Art Ensemble Of Chicago,
La Düsseldorf,
Andrew Hill,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.