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 Poland and from Lyon.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and Portland.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Beasts of Bourbon to the grunge kids.
I played it at the Roxy.
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 The Index. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Dennis Brown 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Pet Shop Boys,
The Leaves,
Joy Division,
Subhumans,
La Düsseldorf,
Rotary Connection,
Kool G Rap & DJ Polo,
Rhythm & Sound,
Rowland S Howard / Lydia Lunch,
ABC,
Laurel Aitken,
Marc Romboy vs. Booka Shade,
Ten City,
The Toasters,
It's A Beautiful Day,
Goldenarms,
Parry Music,
Ash Ra Tempel,
Neil Young & Crazy Horse,
The Slits,
Gang of Four,
Sugar Minott,
Siglo XX,
Scientists,
Wolf Eyes,
Q and Not U,
Girls At Our Best!,
The Index,
Roxette,
H. Thieme,
The Black Dice,
Lalann,
Barclay James Harvest,
UT,
Tomorrow,
James Chance & The Contortions,
A Flock of Seagulls,
Ultravox,
Warsaw,
Funky Four + One,
Country Joe & The Fish,
Bill Near,
Magma,
Supertramp,
The Wake,
Lucky Dragons,
Pantytec,
cv313,
Qualms,
Bang on a Can All-Stars,
Buzzcocks,
Mad Mike,
The Young Rascals,
Soul II Soul,
Cymande,
Toni Rubio,
Terry Callier,
Danielle Patucci,
Eden Ahbez,
Young Marble Giants,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.