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 Belgium and from London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Salvador 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 oboe 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 Basic Channel to the rap 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 Dead Boys. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Swell Maps 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Faust,
Buzzcocks,
Kool Moe Dee,
Wighnomy Brothers & Robag Wruhme,
Derrick May,
Reuben Wilson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bootsy Collins,
Erasure,
A Flock of Seagulls,
Jawbox,
PIL,
Sex Pistols,
Absolute Body Control,
Electric Light Orchestra,
The Skatalites,
Danielle Patucci,
Talk Talk,
The Motions,
Marvin Gaye,
Carl Craig,
Kenny Larkin,
The Tremeloes,
Interpol,
Fluxion,
The Raincoats,
Oneida,
The American Breed,
The Real Kids,
The Young Rascals,
The Index,
Stetsasonic,
The Dirtbombs,
The Cowsills,
Trumans Water,
Zero Boys,
De La Soul & Jungle Brothers,
Liaisons Dangereuses,
Altered Images,
Panda Bear,
Marine Girls,
Larry & the Blue Notes,
Archie Shepp,
The Fuzztones,
Ken Boothe,
Sound Behaviour,
Jandek,
The Busters,
Avey Tare,
London Community Gospel Choir,
Gil Scott Heron,
Au Pairs,
Blake Baxter,
Visionaries,LMNO, T- Love & Iriscience,
The Seeds,
Bill Near,
Average White Band,
Avey Tare & Kría Brekkan,
The Offenders,
The Count Five,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.