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 Ghana and from Shanghai.
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 Spokane and Manchester.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Kango’s Stein Massive to the rock kids.
I played it at the 40 Watt.
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 Patti Smith. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Saccharine Trust,
Cabaret Voltaire,
Symarip,
Big Daddy Kane,
Wire,
Soul Sonic Force,
The Happenings,
D'Angelo,
Josef K,
Jawbox,
June Days,
Nico,
Gong,
London Community Gospel Choir,
Angels of Light & Akron/Family,
Jerry's Kids,
Scientists,
Charles Mingus,
Ornette Coleman,
Rekid,
Mr. Review,
Rahsaan Roland Kirk,
Flipper,
Nas,
Ten City,
Circle Jerks,
The Associates,
The Slits,
Max Romeo,
Jerry Gold Smith,
Scrapy,
X-102,
Yaz,
Deakin,
Rhythim Is Rhythim,
A Flock of Seagulls,
Spandau Ballet,
Public Image Ltd.,
Mission of Burma,
Bobby Hutcherson,
Faust,
Khruangbin,
Country Joe & The Fish,
Kayak,
Scott Walker + Sunn O))),
Anthony Braxton,
Major Organ And The Adding Machine,
the Germs,
Tears for Fears,
Boogie Down Productions,
Harry Pussy,
MDC,
Nick Cave & The Bad Seeds,
The Peanut Butter Conspiracy,
Brass Construction,
The Alarm Clocks,
OOIOO,
The Sisters of Mercy,
Fatback Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Susan Cadogan,
The Fugs, The Fugs, The Fugs, The Fugs.
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.