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 Mauritania 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 1962 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Columbus 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the mellotron 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 Radiohead to the techno kids.
I played it at the Astoria.
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 Interpol. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Glenn Branca,
The Birthday Party,
Carl Craig,
The Detroit Cobras,
Kurtis Blow,
Agent Orange,
Bad Manners,
Nico,
The Evens,
the Bar-Kays,
The Fortunes,
Gang Green,
The Sisters of Mercy,
Barry Ungar,
Juan Atkins,
Maleditus Sound,
Echo & the Bunnymen,
Delta 5,
Robert Görl,
The Move,
Anakelly,
Spandau Ballet,
Tears for Fears,
The New Christs,
Lizzy Mercier Descloux,
Gary Puckett & The Union Gap,
Orchestral Manoeuvres in the Dark,
Sly & The Family Stone,
Moebius,
One Last Wish,
Wings,
The Remains,
Lee Hazlewood,
Masters at Work,
Rhythim Is Rhythim,
the Slits,
Flamin' Groovies,
Bobby Womack,
Bootsy Collins,
Sparks,
Lower 48,
Goldenarms,
Mantronix,
Bush Tetras,
Jesper Dahlbäck,
The Sonics,
The Divine Comedy,
Ajijia Myrayebe,
Marvin Gaye,
Blossom Toes,
Easy Going,
X-Ray Spex,
Letta Mbulu,
Bill Near,
Marshall Jefferson,
Archie Shepp,
Echospace,
Barclay James Harvest,
DeepChord presents Echospace,
Fort Wilson Riot,
Oblivians, Oblivians, Oblivians, Oblivians.
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.