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 Dominican Republic and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Holger Czukay 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 the Swans to the rock kids.
I played it at the Astoria.
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 Stereo Dub. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Gregory Isaacs 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Ossler,
Pere Ubu,
Crash Course in Science,
Bobbi Humphrey,
Lower 48,
Electric Prunes,
The Residents,
Lightning Bolt,
LL Cool J,
Ohio Players,
Howard Jones,
Circle Jerks,
Neu!,
Cecil Taylor,
Camouflage,
Sexual Harrassment,
Albert Ayler,
Siouxsie and the Banshees,
Depeche Mode,
Glambeats Corp.,
K-Klass,
Justin Hinds & The Dominoes,
Clear Light,
Soulsonic Force,
The Misunderstood,
the Normal,
Von Mondo,
Captain Beefheart & His Magic Band,
Parry Music,
Duran Duran,
Lou Christie,
Lee Hazlewood,
Marvin Gaye,
Little Man,
Vainqueur,
Barry Ungar,
Traffic Nightmare,
Fort Wilson Riot,
Crime,
Eric B and Rakim,
8 Eyed Spy,
Organ,
48th St. Collective,
Q and Not U,
Negative Approach,
Jacob Miller,
Barrington Levy,
Rotary Connection,
Röyhkä ja Rättö ja Lehtisalo,
Max Romeo,
Intrusion,
Supertramp,
Idris Muhammad,
It's A Beautiful Day,
Amon Düül II,
Easy Going,
Thompson Twins,
Gian Franco Pienzio,
Cymande, Cymande, Cymande, Cymande.
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.