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 Canada and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 linndrum 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 Dual Sessions to the punk 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 Bill Wells. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Aaron Thompson 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Moby Grape,
The Detroit Cobras,
Lower 48,
Pierre Henry,
Scratch Acid,
Bad Manners,
Juan Atkins,
Hasil Adkins,
Stiv Bators,
Leonard Cohen,
Peter and Kerry,
Thee Headcoats,
The Pop Group,
Faust,
Joensuu 1685,
Big Daddy Kane,
Pussy Galore,
John Cale,
Jeff Mills,
Avey Tare & Kría Brekkan,
The Birthday Party,
The Gladiators,
Judy Mowatt,
Bob Dylan,
Mad Mike,
The Mojo Men,
Nils Olav,
Gang of Four,
Aaron Thompson,
Mary Jane Girls,
Yaz,
The Moleskins,
Talk Talk,
Groovy Waters,
The Flesh Eaters,
Crash Course in Science,
Alton Ellis,
Accadde A,
John Coltrane,
The Busters,
Essential Logic,
Liaisons Dangereuses,
Royal Trux,
Das Ding,
A Certain Ratio,
London Community Gospel Choir,
Zero Boys,
The Knickerbockers,
The Selecter,
Marvin Gaye,
Adolescents,
ABBA,
Q65,
Joyce Sims,
Hardrive,
Barclay James Harvest,
Wire,
Quadrant,
Deadbeat,
Nas, Nas, Nas, Nas.
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.