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 Slovenia and from Copenhagen.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Salvador.
I'm losing my edge to the art-school Spokane 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 mellotron 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 Leaves 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 Severed Heads. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Alison Limerick,
June of 44,
the Bar-Kays,
Ten City,
Idris Muhammad,
Deepchord,
Camron Feat. Jay Z And Juelz,
Dead Boys,
Amon Düül,
Slick Rick,
Royal Trux,
Rakim,
Surgeon,
Chris Corsano,
Animal Collective,
Liliput,
Kauko Röyhkä ja Narttu,
Darondo,
Kaleidoscope,
The Mighty Diamonds,
The Flesh Eaters,
Jacques Brel,
8 Eyed Spy,
James White and The Blacks,
Colin Newman,
Dawn Penn,
Kango’s Stein Massive,
Flash Fearless,
Judy Mowatt,
Ludus,
Von Mondo,
The Tremeloes,
Sex Pistols,
Saccharine Trust,
New York Dolls,
Juan Atkins,
Drive Like Jehu,
The Modern Lovers,
The Zeros,
The New Christs,
The Busters,
Basic Channel,
Robert Hood,
Major Organ And The Adding Machine,
Boz Scaggs,
Howard Jones,
The West Coast Pop Art Experimental Band,
Throbbing Gristle,
The Sound,
Art Ensemble Of Chicago,
The Saints,
Gerry Rafferty,
Kas Product,
Lebanon Hanover,
Boredoms,
Barclay James Harvest,
Lower 48,
Tom Boy,
Icehouse,
Rekid,
Erasure, Erasure, Erasure, Erasure.
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.