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 Mauritania and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1978.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Jakarta 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 güiro 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 Albert Ayler to the rock 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 New York Dolls. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
In Retrospect,
Roger Hodgson,
Rhythim Is Rhythim,
Eurythmics,
Hardrive,
Prince Buster,
Radio Birdman,
Lower 48,
Johnny Clarke,
Black Pus,
Fugazi,
Angry Samoans,
Con Funk Shun,
Aaron Thompson,
Oneida,
Yazoo,
Massinfluence,
Marshall Jefferson,
Agitation Free,
Moss Icon,
The Music Machine,
Pete Rock & C.L. Smooth,
Basic Channel,
Deakin,
Ajijia Myrayebe,
Marc Romboy vs. Booka Shade,
Quando Quango,
Porter Ricks,
Throbbing Gristle,
Unwound,
The Doors,
It's A Beautiful Day,
Pet Shop Boys,
The Beau Brummels,
The Fortunes,
Ituana,
Grey Daturas,
Ultimate Spinach,
Man Eating Sloth,
Althea and Donna,
The Associates,
the Human League,
Schoolly D,
Boogie Down Productions,
Roy Ayers Ubiquity,
Dead Boys,
The Gun Club,
The Flesh Eaters,
Bizarre Inc.,
Soul II Soul,
The Blues Magoos,
The Toasters,
Clear Light,
Make Up,
Avey Tare,
Ten City,
Mad Mike,
The Names,
Outsiders,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.