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 Paraguay and from Tokyo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lille and Lille.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the snare 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 The American Breed to the disco 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 Marshall Jefferson. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Crispian St. Peters,
Avey Tare's Slasher Flicks,
Shoche,
Rowland S Howard / Lydia Lunch,
Marcia Griffiths,
The Associates,
Albert Ayler,
Scion,
Black Sheep,
Super Lover Cee & Casanova Rud,
Bob Dylan,
Glenn Branca,
Nils Olav,
Manfred Mann's Earth Band,
Don Cherry,
Jerry Gold Smith,
Altered Images,
Barbara Tucker,
Andrew Hill,
Sarah Menescal,
Gary Puckett & The Union Gap,
Main Source,
Tears for Fears,
Eddi Front,
Country Teasers,
Notorious Big And Bone Thugs,
PIL,
New Age Steppers,
Hashim,
Kool Moe Dee,
Siouxsie and the Banshees,
Kool G Rap & DJ Polo,
48th St. Collective,
Index,
Henry Cow,
Liliput,
The Birthday Party,
The Dirtbombs,
The Buckinghams,
Technova,
The Invisible,
Laurel Aitken,
DeepChord presents Echospace,
Peter & Gordon,
The Selecter,
Kings Of Tomorrow,
The Techniques,
Deakin,
Tropical Tobacco,
The Last Poets,
Essential Logic,
Stetsasonic,
Visionaries,LMNO, T- Love & Iriscience,
DJ Sneak,
Lungfish,
Japan,
Sun City Girls,
Bluetip,
Ralphi Rosario,
Eric Copeland,
Joensuu 1685,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.