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 Suriname and from Woodstock.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Halifax and Lille.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Todd Terry to the rap kids.
I played it at the Spitz.
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 Electric Light Orchestra. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
The Golliwogs,
The Kinks,
Popol Vuh,
Anakelly,
Crispy Ambulance,
Monolake,
Pylon,
Lower 48,
Nik Kershaw,
The Fugs,
Visage,
Boogie Down Productions,
Sällskapet,
Adolescents,
Carl Craig,
ABC,
Blossom Toes,
Gil Scott-Heron and Jamie xx,
Severed Heads,
Sam Rivers,
Jandek,
Eli Mardock,
L. Decosne,
Skarface,
Interpol,
The Sonics,
Harry Pussy,
Louis and Bebe Barron,
DNA,
Flipper,
Barrington Levy,
Blake Baxter,
A Flock of Seagulls,
The Count Five,
Chrome,
Lafayette Afro Rock Band,
The Mummies,
H. Thieme,
Absolute Body Control,
Kango’s Stein Massive,
Deakin,
Robert Görl,
Moebius,
The Martian,
Crooked Eye,
Moss Icon,
Mandrill,
Sunsets and Hearts,
Gang Green,
Archie Shepp,
The Litter,
Soulsonic Force,
Ludus,
Al Stewart,
Art Ensemble Of Chicago,
Kaleidoscope,
The Vogues,
Jesper Dahlback,
Deadbeat,
The Names,
the Fania All-Stars,
Rotary Connection,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.