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 Israel and from Beijing.
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 Beijing and Bremen.
I'm losing my edge to the art-school Manila 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Richard Hell and the Voidoids to the funk kids.
I played it at the Astoria.
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 Can. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Cabaret Voltaire,
Amon Düül,
Delta 5,
The Young Rascals,
Jerry Gold Smith,
Easy Going,
Bronski Beat,
The Velvet Underground,
Pere Ubu,
8 Eyed Spy,
Sällskapet,
John Coltrane,
Nas,
Sad Lovers and Giants,
The Slits,
David McCallum,
Newcleus,
Roy Ayers Ubiquity,
Carl Craig,
Das Ding,
The Remains,
MC5,
Sun City Girls,
10cc,
Silicon Teens,
Duran Duran,
Mark Hollis,
Jacob Miller,
Siglo XX,
A Flock of Seagulls,
Bang on a Can All-Stars,
Connie Case,
Hasil Adkins,
Dark Day,
Alton Ellis,
Young Marble Giants,
Rekid,
Monks,
Mandrill,
Agent Orange,
The Dead C,
John Foxx,
Fad Gadget,
Sly & The Family Stone,
Amon Düül II,
Gastr Del Sol,
Rufus Thomas,
Spoonie Gee,
Sandy B,
Trumans Water,
The Detroit Cobras,
Ornette Coleman,
Ronnie Foster,
The Kinks,
Rapeman,
Avey Tare,
The Chocolate Watch Band,
PIL,
The Selecter,
Al Stewart,
Ultimate Spinach,
Audionom, Audionom, Audionom, Audionom.
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.