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 Antigua and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Woodstock.
I'm losing my edge to the art-school Cairo 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 rhodes 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 Deadbeat to the disco kids.
I played it at the Crocodile.
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 Mary Jane Girls. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Lafayette Afro Rock Band 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 '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Grauzone,
Alison Limerick,
The Jesus and Mary Chain,
Y Pants,
Avey Tare,
Moby Grape,
Nick Fraelich,
Notorious BIG live in Amsterdam,
Justin Hinds & The Dominoes,
U.S. Maple,
The Alarm Clocks,
Josef K,
Adolescents,
Max Romeo,
Al Stewart,
Unrelated Segments,
Stetsasonic,
Funkadelic,
Banda Bassotti,
Boredoms,
The Happenings,
Sun Ra,
Tears for Fears,
The Misunderstood,
The Invisible,
Girls At Our Best!,
the Swans,
Lightning Bolt,
Organ,
Gerry Rafferty,
The Slackers,
Ponytail,
KRS-One,
Harmonia,
Model 500,
Dorothy Ashby,
Jacques Brel,
Ken Boothe,
Sarah Menescal,
Idris Muhammad,
Reuben Wilson,
Anakelly,
The Saints,
Bauhaus,
MC5,
Loose Ends,
The Fire Engines,
Charles Mingus,
Yusef Lateef,
The Grass Roots,
Nico,
Deepchord,
Rahsaan Roland Kirk,
Gong,
Cecil Taylor,
Country Joe & The Fish,
Intrusion,
Sexual Harrassment,
The Kinks,
the Germs,
E-Dancer,
Wolf Eyes,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.