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 Laos and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Warren Ellis to the crunk 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 Colin Newman. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every The Human League 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 '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Sugar Minott,
Silicon Teens,
48th St. Collective,
Avey Tare,
Nirvana,
Angry Samoans,
Man Eating Sloth,
Lou Reed & John Cale,
Jacob Miller,
James White and The Blacks,
Susan Cadogan,
Lower 48,
Harry Pussy,
Surgeon,
Yazoo,
The Litter,
Half Japanese,
The Skatalites,
The Flesh Eaters,
Amazonics,
Sarah Menescal,
Scratch Acid,
Excepter,
Connie Case,
Glenn Branca,
Joey Negro,
The Fire Engines,
Marmalade,
Kool G Rap & DJ Polo,
The Cure,
Lyres,
Interpol,
The Slits,
Patti Smith,
L. Decosne,
Roy Ayers Ubiquity,
The Real Kids,
Heaven 17,
Kayak,
Alton Ellis,
ABC,
The Sonics,
Cluster,
Deakin,
Theoretical Girls,
Pylon,
Youth Brigade,
The Moody Blues,
The Barracudas,
Graham Central Station,
Moby Grape,
Crispy Ambulance,
The Dirtbombs,
Blake Baxter,
Grandmaster Flash and the Furious Five,
Neu!,
Motorama,
Fifty Foot Hose,
Japan,
Hashim,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.