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 Angola and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1976.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Lille 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 rhodes 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 Camberwell Now to the grunge 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 Jerry Gold Smith. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Rhythim Is Rhythim 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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 Zeros,
Gichy Dan,
Model 500,
the Bar-Kays,
Niagra,
Lyres,
Ken Boothe,
Urselle,
The Velvet Underground,
The Blackbyrds,
Bang on a Can All-Stars,
Eve St. Jones,
Scrapy,
Monolake,
Sällskapet,
Hoover,
Ultramagnetic MC's,
Gastr Del Sol,
Adolescents,
This Heat,
China Crisis,
Joensuu 1685,
Piero Umiliani,
Lou Reed,
Loose Ends,
The Alarm Clocks,
Gong,
Brand Nubian,
Supertramp,
The Fire Engines,
Sandy B,
Lakeside,
Marshall Jefferson,
Sixth Finger,
Scratch Acid,
Sonic Youth,
Robert Hood,
EPMD,
The Tremeloes,
James White and The Blacks,
Flash Fearless,
Andrew Ashong & Theo Parrish,
Bill Wells,
Fugazi,
Magma,
The Electric Prunes,
Minor Threat,
AZ,
DJ Sneak,
Wighnomy Brothers & Robag Wruhme,
Talk Talk,
Chris Corsano,
Brass Construction,
Quadrant,
Nik Kershaw,
Lou Christie,
Max Romeo,
Marine Girls,
Delon & Dalcan,
Essential Logic,
X-102,
Kaleidoscope,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.