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 Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Toronto.
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 güiro sounds with much patience.
I was there when Michael McDonald 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 Alison Limerick to the electroclash kids.
I played it at Trash.
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 Max Romeo. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
Beasts of Bourbon,
This Heat,
The Divine Comedy,
Banda Bassotti,
Masters at Work,
Curtis Mayfield,
Arcadia,
Andrew Hill,
Nico,
Marshall Jefferson,
Excepter,
Grauzone,
Bang on a Can All-Stars,
Major Organ And The Adding Machine,
Nik Kershaw,
Kool G Rap & DJ Polo,
Sam Rivers,
Sticky Fingaz feat. Raekwon,
Ultramagnetic MC's,
The Detroit Cobras,
The Peanut Butter Conspiracy,
Rhythim Is Rhythim,
Yaz,
Neu!,
Can,
Siouxsie and the Banshees,
The Sisters of Mercy,
Dual Sessions,
the Association,
Kool Moe Dee,
John Cale,
Television Personalities,
Electric Prunes,
The Neon Judgement,
Radiohead,
Camouflage,
Hardrive,
Red Lorry Yellow Lorry,
New Age Steppers,
Faust,
Derrick May,
John Foxx,
Tres Demented,
Althea and Donna,
Pierre Henry,
Suburban Knight,
The Count Five,
Harpers Bizarre,
Thee Headcoats,
The Gladiators,
Accadde A,
Manfred Mann's Earth Band,
T.S.O.L.,
La Düsseldorf,
The Toasters,
Ten City,
Notorious Big And Bone Thugs,
Ultravox,
Bobby Byrd,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.