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 Moldova and from Philadelphia.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 The Monks to the electroclash kids.
I played it at the Troubador.
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 Godley & Creme. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
Moby Grape,
Supertramp,
Terry Callier,
Hasil Adkins,
Sun Ra Arkestra,
Lalann,
Brand Nubian,
Urselle,
Ice-T,
Maurizio,
Alice Coltrane,
Saccharine Trust,
Whodini,
Piero Umiliani,
Malaria!,
Kas Product,
Loose Ends,
Outsiders,
Man Parrish,
Flamin' Groovies,
Sarah Menescal,
Jerry's Kids,
The Happenings,
A Certain Ratio,
Tubeway Army,
The New Christs,
Fat Boys,
The Kinks,
Donny Hathaway,
Gerry Rafferty,
The American Breed,
Flipper,
The Associates,
The Chocolate Watch Band,
The Angels of Light,
Blake Baxter,
Louis and Bebe Barron,
Robert Wyatt,
Siglo XX,
Cecil Taylor,
48th St. Collective,
Kango’s Stein Massive,
Rufus Thomas,
L. Decosne,
Technova,
Larry & the Blue Notes,
Joey Negro,
The Fortunes,
KRS-One,
Don Cherry,
Vainqueur,
Be Bop Deluxe,
Yusef Lateef,
Soft Cell,
Roy Ayers,
Can,
Absolute Body Control,
The Raincoats,
Bang On A Can,
Eric Dolphy,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.