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 Tunisia and from Mumbai.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Lille 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 Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Bob Dylan to the rap kids.
I played it at Cafe Wha.
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 Pole. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Sixth Finger 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Sparks,
Fela Kuti,
Albert Ayler,
Loose Ends,
Big Daddy Kane,
Connie Case,
The Motions,
Nation of Ulysses,
Suicide,
Dave Gahan,
Jerry's Kids,
Ajijia Myrayebe,
L. Decosne,
Swans,
Robert Hood,
Khruangbin,
The Beau Brummels,
Gong,
Marcia Griffiths,
Can,
Aloha Tigers,
Ultimate Spinach,
Flamin' Groovies,
Inner City,
Das Ding,
Be Bop Deluxe,
Drive Like Jehu,
Suburban Knight,
Rosa Yemen,
Laurel Aitken,
A Certain Ratio,
Sonny Sharrock,
Marvin Gaye,
Röyhkä ja Rättö ja Lehtisalo,
The Gories,
Banda Bassotti,
Crispian St. Peters,
Arthur Verocai,
a-ha,
Scan 7,
Al Stewart,
The Pop Group,
Reagan Youth,
Jeff Mills,
Major Organ And The Adding Machine,
Cymande,
Ken Boothe,
Rotary Connection,
Radio Birdman,
Barbara Tucker,
Infiniti,
Altered Images,
The Smoke,
Michelle Simonal,
The Fall,
Ice-T,
Lalo Schifrin,
The Seeds,
Supertramp,
Desert Stars,
Lower 48,
Byron Stingily,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.