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 Germany and from Beijing.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Seoul 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin 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 Deadbeat to the funk kids.
I played it at Trash.
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 Symarip. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
The Detroit Cobras,
Loose Ends,
Barrington Levy,
Agent Orange,
Negative Approach,
Index,
X-102,
Angels of Light & Akron/Family,
The Grass Roots,
Dual Sessions,
Mad Mike,
Johnny Osbourne,
Quantec,
Tomorrow,
Marcia Griffiths,
The Victims,
Marc Almond,
Ohio Players,
ABC,
the Fania All-Stars,
Aaron Thompson,
Lee Hazlewood,
The Monks,
Big Daddy Kane,
Spandau Ballet,
Amazonics,
Oblivians,
Matthew Bourne,
Boredoms,
The Wake,
Wighnomy Brothers & Robag Wruhme,
Marmalade,
Arab on Radar,
Barclay James Harvest,
Malaria!,
Buzzcocks,
Super Lover Cee & Casanova Rud,
Andrew Ashong & Theo Parrish,
Zero Boys,
The Velvet Underground,
Saccharine Trust,
Echo & the Bunnymen,
Rod Modell,
Television,
Peter and Kerry,
Section 25,
Sonny Sharrock,
Rahsaan Roland Kirk,
Pulsallama,
Lindisfarne,
Lightning Bolt,
Larry & the Blue Notes,
Glambeats Corp.,
Average White Band,
Gang Starr,
Crispian St. Peters,
Young Marble Giants,
It's A Beautiful Day,
Lyres,
Slave, Slave, Slave, Slave.
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.