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 Belarus and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Columbus 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Throbbing Gristle to the rap kids.
I played it at the Crocodile.
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 Siglo XX. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Mars,
Traffic Nightmare,
X-102,
The Vogues,
Bang On A Can,
The Smoke,
Spandau Ballet,
Ten City,
Sonny Sharrock,
Johnny Clarke,
Scott Walker,
Bush Tetras,
David Bowie,
Glenn Branca,
Das Ding,
The Beau Brummels,
F. McDonald,
Nas,
Ralphi Rosario,
Dawn Penn,
Porter Ricks,
Juan Atkins,
Josef K,
Dual Sessions,
a-ha,
kango's stein massive,
Mark Hollis,
Prince Buster,
10cc,
Soul II Soul,
The Grass Roots,
Quadrant,
Toni Rubio,
Chrome,
Ossler,
Vainqueur,
Lizzy Mercier Descloux,
Orchestral Manoeuvres in the Dark,
Sly & The Family Stone,
Cameo,
Buzzcocks,
Matthew Halsall,
Scrapy,
James Chance & The Contortions,
Loose Ends,
Barry Ungar,
Monks,
Gian Franco Pienzio,
The Offenders,
The Fuzztones,
Bootsy Collins,
James White and The Blacks,
World's Most,
Colin Newman,
Lee Hazlewood,
The Doobie Brothers,
Gerry Rafferty,
Saccharine Trust,
Patti Smith,
Aloha Tigers,
John Holt,
Harmonia, Harmonia, Harmonia, Harmonia.
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.