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 Niger and from Salvador.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Delhi 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 Sun Ra Arkestra to the disco 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 Outsiders. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Babytalk,
Eric B and Rakim,
Crime,
The Raincoats,
Rekid,
The Buckinghams,
Excepter,
Adolescents,
Popol Vuh,
Main Source,
Second Layer,
Gian Franco Pienzio,
David Bowie,
The Divine Comedy,
The Chocolate Watch Band,
Curtis Mayfield,
Kaleidoscope,
Boogie Down Productions,
Andrew Ashong & Theo Parrish,
David McCallum,
The Sound,
The Standells,
Terrestrial Tones,
Archie Shepp,
Drive Like Jehu,
The Dave Clark Five,
Aural Exciters,
Joe Finger,
The Knickerbockers,
Sällskapet,
Boredoms,
Major Organ And The Adding Machine,
Magma,
These Immortal Souls,
Tommy Roe,
Letta Mbulu,
Kango’s Stein Massive,
Oppenheimer Analysis,
The Residents,
Yazoo,
Lou Reed,
Toni Rubio,
Japan,
X-102,
Visionaries,LMNO, T- Love & Iriscience,
Organ,
Royal Trux,
Darondo,
John Cale,
Bootsy Collins,
The Fuzztones,
Television Personalities,
Bauhaus,
The Doors,
De La Soul & Jungle Brothers,
The Moody Blues,
Kool G Rap & DJ Polo,
Underground Resistance,
Monolake,
Interpol,
Donny Hathaway,
Funkadelic,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.