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 Brunei and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Cairo 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Banda Bassotti to the punk kids.
I played it at the Hacienda.
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 Art Ensemble Of Chicago. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Pantaleimon,
The Selecter,
Justin Hinds & The Dominoes,
The Remains,
Audionom,
Depeche Mode,
The Litter,
UT,
Monolake,
Wasted Youth,
Lou Reed,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marshall Jefferson,
Supertramp,
Anakelly,
Fear,
Crispian St. Peters,
Crash Course in Science,
Eric Dolphy,
Alphaville,
Sight & Sound,
Matthew Bourne,
Don Cherry,
The Smiths,
Loose Ends,
Intrusion,
Jimmy McGriff,
Underground Resistance,
The Blues Magoos,
The Mojo Men,
Outsiders,
Mars,
Television,
The United States of America,
PIL,
Nas,
Royal Trux,
Unwound,
Accadde A,
Eurythmics,
The Count Five,
Minutemen,
kango's stein massive,
Ultramagnetic MC's,
James Chance & The Contortions,
Tears for Fears,
the Slits,
Half Japanese,
The Star Department,
The Black Dice,
Lungfish,
Spoonie Gee,
Bluetip,
Kenny Larkin,
ABC,
Kauko Röyhkä ja Narttu,
Joensuu 1685,
The Cowsills,
Frankie Knuckles,
X-Ray Spex,
Zero Boys,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.