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 Guinea and from Paris.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Beijing.
I'm losing my edge to the art-school Tokyo 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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron 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 Minor Threat to the disco kids.
I played it at Trash.
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 Rekid. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Dark Day 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 '90s.
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 Jeru the Damaja record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Young Marble Giants,
John Coltrane,
Man Parrish,
Notorious BIG live in Amsterdam,
Blancmange,
Public Image Ltd.,
Motorama,
Rites of Spring,
Siouxsie and the Banshees,
Wally Richardson,
Vladislav Delay,
Rosa Yemen,
Drive Like Jehu,
Gerry Rafferty,
Lou Christie,
Gil Scott-Heron & Brian Jackson,
The Gun Club,
Qualms,
Main Source,
Japan,
Alton Ellis,
Ultravox,
Deutsch Amerikanische Freundschaft,
Matthew Bourne,
Slave,
the Germs,
Cluster,
Radiopuhelimet,
Crooked Eye,
Aswad,
Kerrie Biddell,
Sarah Menescal,
Smog,
Nation of Ulysses,
Lower 48,
Mr. Review,
DeepChord presents Echospace,
Unrelated Segments,
T.S.O.L.,
Freddie Wadling,
a-ha,
Howard Jones,
Alison Limerick,
Mark Hollis,
Deadbeat,
Boz Scaggs,
the Normal,
Throbbing Gristle,
Metal Thangz,
The Grass Roots,
Schoolly D,
Tim Buckley,
Rahsaan Roland Kirk,
PIL,
Reagan Youth,
Lee Hazlewood,
These Immortal Souls,
Alphaville,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.