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 Iceland and from Toronto.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Manila.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Joyce Sims to the punk 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 Yaz. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Marc Romboy vs. Booka Shade,
Maurizio,
Laurel Aitken,
Mad Mike,
Porter Ricks,
Nation of Ulysses,
Bluetip,
Ralphi Rosario,
Kerri Chandler,
Chrome,
Grandmaster Flash,
Traffic Nightmare,
Alison Limerick,
Richard Hell and the Voidoids,
the Swans,
Lizzy Mercier Descloux,
Mandrill,
Leonard Cohen,
Zero Boys,
Blancmange,
The Electric Prunes,
The Mojo Men,
OOIOO,
Sly & The Family Stone,
Ajijia Myrayebe,
Eric Dolphy,
Soulsonic Force,
Buzzcocks,
Ossler,
The Human League,
The Neon Judgement,
Arthur Verocai,
Notorious BIG live in Amsterdam,
The Victims,
Negative Approach,
Patti Smith,
The Litter,
Röyhkä ja Rättö ja Lehtisalo,
Main Source,
Bang On A Can,
The Mighty Diamonds,
Minutemen,
New York Dolls,
Ultra Naté,
Angry Samoans,
FM Einheit,
Brothers Johnson,
Metal Thangz,
Crash Course in Science,
Janne Schatter,
Wolf Eyes,
Massinfluence,
Pole,
Fear,
Sun Ra,
Eve St. Jones,
K-Klass,
Rakim,
Sparks,
Jeff Mills,
June of 44,
UT,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.