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 Yemen and from Lille.
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 1974.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Manchester 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Anthony Braxton to the rap 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 Ultimate Spinach. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Altered Images,
Public Image Ltd.,
Amazonics,
The Music Machine,
The Names,
Bush Tetras,
The J.B.'s,
The Pop Group,
Bronski Beat,
Popol Vuh,
Barbara Tucker,
Radiopuhelimet,
Groovy Waters,
The Cowsills,
Blake Baxter,
Nirvana,
KRS-One,
Angels of Light & Akron/Family,
Cecil Taylor,
Ash Ra Tempel,
Peter Gordon & Love of Life Orchestra,
James White and The Blacks,
Glambeats Corp.,
Rekid,
Jandek,
Agent Orange,
Desert Stars,
Mary Jane Girls,
Tropical Tobacco,
Black Pus,
Fifty Foot Hose,
Piero Umiliani,
Warsaw,
Alison Limerick,
Wolf Eyes,
Suicide,
Chris Corsano,
Essential Logic,
Kevin Saunderson,
One Last Wish,
Rapeman,
Black Flag,
F. McDonald,
Teenage Jesus and the Jerks,
Au Pairs,
John Holt,
Average White Band,
Half Japanese,
Warren Ellis,
Todd Rundgren,
Reuben Wilson,
The Cure,
Rowland S Howard / Lydia Lunch,
Man Parrish,
The Peanut Butter Conspiracy,
Judy Mowatt,
Echospace,
Morten Harket,
Oblivians,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.