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 Burkina and from Jakarta.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Accra 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 Ubu practice in a loft in Cleveland.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Grandmaster Flash to the electroclash kids.
I played it at the 40 Watt.
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 Pantaleimon. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
EPMD,
Lizzy Mercier Descloux,
Peter and Kerry,
The Gap Band,
X-101,
Grandmaster Flash,
Amazonics,
Boz Scaggs,
Pharoah Sanders,
David Axelrod,
Marmalade,
Sight & Sound,
The Martian,
Kayak,
Dead Boys,
The West Coast Pop Art Experimental Band,
Wolf Eyes,
Dorothy Ashby,
Eden Ahbez,
The Golliwogs,
Red Lorry Yellow Lorry,
Brass Construction,
Ronan,
The Shadows of Knight,
Franke,
The Sisters of Mercy,
Siouxsie and the Banshees,
It's A Beautiful Day,
Minutemen,
Swell Maps,
Pulsallama,
New York Dolls,
Bauhaus,
Man Parrish,
Bobby Womack,
Q and Not U,
Dawn Penn,
PIL,
Notorious BIG live in Amsterdam,
Aaron Thompson,
Iggy Pop,
Arthur Verocai,
Infiniti,
Jeff Mills,
The Leaves,
The Men They Couldn't Hang,
Moebius,
8 Eyed Spy,
Johnny Clarke,
Robert Wyatt,
Scrapy,
The Sonics,
The Selecter,
Marine Girls,
Stiv Bators,
Goldenarms,
The Birthday Party,
Bad Manners,
Drive Like Jehu,
The Modern Lovers,
Kool G Rap & DJ Polo,
Thee Headcoats,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.