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 Somalia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Bologna and Tehran.
I'm losing my edge to the art-school Toronto 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Dorothy Ashby to the grunge kids.
I played it at the Troubador.
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 John Coltrane. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Nick Fraelich,
Graham Central Station,
Oblivians,
Red Lorry Yellow Lorry,
Tom Boy,
Metal Thangz,
Bush Tetras,
Negative Approach,
The New Christs,
The Gap Band,
The Remains,
AZ,
Soul II Soul,
8 Eyed Spy,
Freddie Wadling,
Sight & Sound,
Quadrant,
Young Marble Giants,
Popol Vuh,
KRS-One,
Blake Baxter,
Derrick Morgan,
Crispian St. Peters,
Pierre Henry,
Larry & the Blue Notes,
Pharoah Sanders,
Niagra,
Michelle Simonal,
Siouxsie and the Banshees,
The Pop Group,
Tropical Tobacco,
Eddi Front,
The Vogues,
Sound Behaviour,
Barclay James Harvest,
Smog,
Japan,
Tomorrow,
Lou Reed & John Cale,
The Shadows of Knight,
Surgeon,
Gang of Four,
Cabaret Voltaire,
Byron Stingily,
Alton Ellis,
Minor Threat,
Hardrive,
Derrick May,
One Last Wish,
Kool G Rap & DJ Polo,
Grey Daturas,
Bobby Hutcherson,
EPMD,
The Seeds,
Rites of Spring,
Bauhaus,
Supertramp,
Jandek,
Flamin' Groovies,
Delta 5,
Mad Mike,
the Slits, the Slits, the Slits, the Slits.
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.