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 Solomon Islands and from Copenhagen.
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 1968 to 1973.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Salvador 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Fugazi to the jazz kids.
I played it at the Spitz.
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 Colin Newman. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every The Skatalites 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Flash Fearless,
Masters at Work,
The Star Department,
The Residents,
48th St. Collective,
The Busters,
Gerry Rafferty,
Flipper,
Parry Music,
The Young Rascals,
Bobbi Humphrey,
Sexual Harrassment,
Minutemen,
Robert Wyatt,
Popol Vuh,
Hot Snakes,
The Motions,
Guru Guru,
Cheater Slicks,
Neil Young,
Niagra,
Visage,
Boogie Down Productions,
Josef K,
The Doors,
Depeche Mode,
The Smoke,
Siglo XX,
Throbbing Gristle,
The Doobie Brothers,
ABBA,
Outsiders,
Peter Gordon & Love of Life Orchestra,
Sun Ra,
The Five Americans,
Derrick May,
Dual Sessions,
Main Source,
Khruangbin,
Liliput,
OOIOO,
The Slackers,
Bobby Womack,
UT,
Slick Rick,
The Move,
Eric Copeland,
Judy Mowatt,
Andrew Hill,
Panda Bear,
Tommy Roe,
Warsaw,
Supertramp,
DeepChord presents Echospace,
Procol Harum,
The Electric Prunes,
The Techniques,
Severed Heads,
Be Bop Deluxe,
Rapeman,
Prince Buster,
Altered Images,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.