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 Niger and from Delhi.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Nirvana to the funk kids.
I played it at the Hacienda.
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 Rites of Spring. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Rapeman,
Funky Four + One,
Unrelated Segments,
Porter Ricks,
Organ,
Jandek,
Khruangbin,
Byron Stingily,
Nation of Ulysses,
Tubeway Army,
Dead Boys,
Ultramagnetic MC's,
Youth Brigade,
Strawberry Alarm Clock,
Joe Finger,
Susan Cadogan,
Gabor Szabo,
Rites of Spring,
Neu!,
Gastr Del Sol,
Nico,
Icehouse,
Reagan Youth,
Nik Kershaw,
Deepchord,
Gichy Dan,
The Gladiators,
World's Most,
Ultimate Spinach,
The Dave Clark Five,
Public Image Ltd.,
The Last Poets,
Henry Cow,
U.S. Maple,
Talk Talk,
Masters at Work,
The Doors,
The West Coast Pop Art Experimental Band,
Notorious Big And Bone Thugs,
Siouxsie and the Banshees,
Saccharine Trust,
Stetsasonic,
The Fire Engines,
Janne Schatter,
Lou Reed & John Cale,
Frankie Knuckles,
Excepter,
The Real Kids,
Peter Gordon & Love of Life Orchestra,
Moby Grape,
Bang on a Can All-Stars,
Roy Ayers Ubiquity,
Sixth Finger,
Hoover,
F. McDonald,
Grandmaster Flash,
Althea and Donna,
Dennis Brown,
Don Cherry,
Captain Beefheart & His Magic Band,
The Slits,
Lizzy Mercier Descloux,
John Holt, John Holt, John Holt, John Holt.
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.