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 Oman and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Yellowson to the disco kids.
I played it at the Roxy.
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 Jacob Miller. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Matthew Halsall 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Vaughan Mason & Crew,
Second Layer,
Suburban Knight,
Eyeless In Gaza,
Smog,
Girls At Our Best!,
Cabaret Voltaire,
Glenn Branca,
Moss Icon,
The Modern Lovers,
Lower 48,
Rotary Connection,
Sister Nancy,
Chris & Cosey,
Q and Not U,
Grandmaster Flash,
Faraquet,
Susan Cadogan,
R.M.O.,
Yusef Lateef,
Zero Boys,
Bootsy Collins,
The Leaves,
Nik Kershaw,
Derrick Morgan,
The Birthday Party,
Stereo Dub,
Robert Hood,
Rhythm & Sound,
Nico,
Amon Düül II,
Prince Buster,
Peter & Gordon,
The Chocolate Watch Band,
Rod Modell,
Anthony Braxton,
Barry Ungar,
The Dave Clark Five,
Siglo XX,
Lou Reed,
Isaac Hayes,
These Immortal Souls,
the Association,
Schoolly D,
Saccharine Trust,
The Five Americans,
Soul Sonic Force,
Jandek,
Little Man,
Marvin Gaye,
The Pop Group,
The Misunderstood,
Rakim,
Interpol,
Kango’s Stein Massive,
Theoretical Girls,
Sun City Girls,
Jawbox,
Arthur Verocai,
JFA,
Zapp,
Faust, Faust, Faust, Faust.
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.