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 Venezuela and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Albert Ayler to the punk 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 Aswad. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat 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?
Joe Smooth,
Lou Reed & Metallica,
Moss Icon,
a-ha,
Laurel Aitken,
Teenage Jesus and the Jerks,
Nick Cave & The Bad Seeds,
Gil Scott Heron,
A Certain Ratio,
Vladislav Delay,
Pole,
The Jesus and Mary Chain,
Youth Brigade,
These Immortal Souls,
Sister Nancy,
Hashim,
Little Man,
Adolescents,
Section 25,
Charles Mingus,
Sparks,
Man Parrish,
Ultimate Spinach,
The Trojans,
Ken Boothe,
Be Bop Deluxe,
Slave,
Skriet,
Kool G Rap & DJ Polo,
The Beau Brummels,
Jesper Dahlback,
Faraquet,
Alison Limerick,
The Slackers,
L. Decosne,
Brothers Johnson,
X-Ray Spex,
Sex Pistols,
Parry Music,
CMW,
Bill Wells,
Sound Behaviour,
Lizzy Mercier Descloux,
Heaven 17,
T.S.O.L.,
Black Sheep,
FM Einheit,
Fort Wilson Riot,
Icehouse,
Matthew Bourne,
Suicide,
Amon Düül II,
Main Source,
Interpol,
Black Flag,
Ralphi Rosario,
Excepter,
Joy Division,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.