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 Swaziland and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Lagos 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 theremin sounds with much patience.
I was there when Lou Reed 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 Sonny Sharrock to the rock kids.
I played it at the Roxy.
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 Lou Christie. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Flamin' Groovies record on German import.
I heard that you have a white label of every seminal electroclash 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 a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Rowland S Howard / Lydia Lunch,
London Community Gospel Choir,
L. Decosne,
Avey Tare & Kría Brekkan,
The Litter,
Minutemen,
Brothers Johnson,
Charles Mingus,
The Detroit Cobras,
Public Image Ltd.,
Von Mondo,
Warsaw,
Selector Dub Narcotic,
Danielle Patucci,
Leonard Cohen,
Index,
48th St. Collective,
Thompson Twins,
Boogie Down Productions,
Sun Ra,
Amon Düül,
Boredoms,
Marc Romboy vs. Booka Shade,
Big Daddy Kane,
Essential Logic,
New Order,
Amon Düül II,
Marmalade,
Gang Starr,
The Remains,
E-Dancer,
The Misunderstood,
A Certain Ratio,
Sparks,
Orchestral Manoeuvres in the Dark,
Country Teasers,
The American Breed,
Cluster,
Arthur Verocai,
Soul II Soul,
The Cosmic Jokers,
The Motions,
K-Klass,
Oblivians,
The Slits,
Mary Jane Girls,
Marine Girls,
Banda Bassotti,
Soft Cell,
Skriet,
Faust,
cv313,
Pole,
Dead Boys,
Avey Tare,
The Standells,
Jacques Brel,
Jeru the Damaja,
Khruangbin,
Warren Ellis,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.