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 Saudi Arabia and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Manila.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 Ornette Coleman to the rock 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 One Last Wish. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a harpsichord 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 clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Duran Duran,
The Evens,
Pantytec,
Arthur Verocai,
John Foxx,
Man Parrish,
June of 44,
Moby Grape,
Severed Heads,
Smog,
Fort Wilson Riot,
Moebius,
Andrew Ashong & Theo Parrish,
Gil Scott Heron,
The Birthday Party,
T. Rex,
D'Angelo,
Colin Newman,
The Moleskins,
Terrestrial Tones,
L. Decosne,
Symarip,
Rod Modell,
Monks,
Japan,
Section 25,
DJ Sneak,
Bluetip,
Glambeats Corp.,
Parry Music,
Tom Boy,
The Kinks,
June Days,
Siouxsie and the Banshees,
Darondo,
Marcia Griffiths,
Joensuu 1685,
Johnny Clarke,
The Sound,
Icehouse,
Electric Prunes,
Stetsasonic,
The Human League,
Jesper Dahlback,
Tubeway Army,
The American Breed,
Dead Boys,
Black Bananas,
Television,
Scan 7,
Minnie Riperton,
Neil Young & Crazy Horse,
Eli Mardock,
Quadrant,
Leonard Cohen,
Make Up,
Accadde A,
The Raincoats,
Slick Rick,
Fat Boys,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.