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 Pakistan and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1961 to 1977.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Sisters of Mercy to the crunk 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 Country Teasers. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
The Cramps,
K-Klass,
Liaisons Dangereuses,
Eric B and Rakim,
Vaughan Mason & Crew,
E-Dancer,
T.S.O.L.,
Youth Brigade,
The Seeds,
Pharaoh Sanders and the Fire Engines,
Bizarre Inc.,
Judy Mowatt,
The Red Krayola,
Bobby Hutcherson,
Angry Samoans,
Flamin' Groovies,
Iggy Pop,
Stockholm Monsters,
Terrestrial Tones,
Darondo,
X-102,
Audionom,
Urselle,
Skaos,
R.M.O.,
Ituana,
Deakin,
Radiopuhelimet,
Amon Düül,
The Music Machine,
Fluxion,
Barrington Levy,
Joe Finger,
David Bowie,
Davy DMX,
John Cale,
Marcia Griffiths,
Moby Grape,
Mark Hollis,
Anthony Braxton,
Marmalade,
X-Ray Spex,
Porter Ricks,
Jacob Miller,
Albert Ayler,
The Slackers,
Shuggie Otis,
Thee Headcoats,
the Human League,
Alice Coltrane,
D'Angelo,
Pagans,
Aural Exciters,
Infiniti,
Babytalk,
The Knickerbockers,
The Chocolate Watch Band,
Massinfluence,
The Gories,
Au Pairs,
Nick Cave & The Bad Seeds,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.