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 Japan and from Milan.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Philadelphia 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 Tom Verlaine 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 Crooked Eye to the electroclash 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 Q65. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal grime 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 Bang on a Can All-Stars record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Camron Feat. Memphis Bleek And Beenie Seigel,
The West Coast Pop Art Experimental Band,
Tubeway Army,
The Durutti Column,
The Modern Lovers,
Boredoms,
Saccharine Trust,
Crash Course in Science,
Rapeman,
U.S. Maple,
Ituana,
Suburban Knight,
Flamin' Groovies,
Fatback Band,
The Skatalites,
Robert Wyatt,
Crime,
Kango’s Stein Massive,
Sight & Sound,
MDC,
AZ,
Nik Kershaw,
Ralphi Rosario,
Sandy B,
Pete Rock & C.L. Smooth,
Bronski Beat,
Jerry's Kids,
Henry Cow,
The Dirtbombs,
Absolute Body Control,
Hasil Adkins,
Josef K,
Gastr Del Sol,
Brass Construction,
The Slackers,
The Cure,
Underground Resistance,
Graham Central Station,
Aswad,
Q65,
Parry Music,
Oppenheimer Analysis,
Pierre Henry,
The Sound,
Roy Ayers Ubiquity,
Wire,
EPMD,
John Coltrane,
Gregory Isaacs,
Crooked Eye,
Mission of Burma,
Trumans Water,
Hashim,
The Dave Clark Five,
Eric Dolphy,
The Doors,
Pylon,
Justin Hinds & The Dominoes,
The Tremeloes,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.