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 Armenia and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Accra 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 John Coltrane to the techno kids.
I played it at the Spitz.
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 Eric Dolphy. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Junior Murvin 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 '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Tom Boy,
In Retrospect,
Angels of Light & Akron/Family,
Glambeats Corp.,
Anakelly,
Althea and Donna,
the Fania All-Stars,
Lou Reed & John Cale,
Joyce Sims,
Grauzone,
The Trojans,
Lafayette Afro Rock Band,
Symarip,
Jawbox,
Rakim,
Mission of Burma,
Visage,
MDC,
Stockholm Monsters,
Half Japanese,
Godley & Creme,
Fugazi,
X-Ray Spex,
The Busters,
Neil Young & Crazy Horse,
Cheater Slicks,
A Flock of Seagulls,
Lyres,
Sexual Harrassment,
Clear Light,
LL Cool J,
Dead Boys,
Little Man,
Sun Ra,
Darondo,
The Angels of Light,
Stereo Dub,
Model 500,
Avey Tare,
The Smiths,
Hasil Adkins,
K-Klass,
Maurizio,
The Five Americans,
Barclay James Harvest,
The Flesh Eaters,
Fat Boys,
Alison Limerick,
It's A Beautiful Day,
Robert Hood,
Andrew Hill,
Moebius,
a-ha,
These Immortal Souls,
Chris & Cosey,
Loose Ends,
Siglo XX,
Black Moon,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.