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 Ivory Coast and from Manchester.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Tehran 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 Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Fugazi to the funk kids.
I played it at Cafe Wha.
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 The Kinks. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Mark Hollis,
The United States of America,
Organ,
Glenn Branca,
Pharoah Sanders,
Cluster,
Massinfluence,
Radiohead,
Big Daddy Kane,
Severed Heads,
Hashim,
John Coltrane,
Graham Central Station,
The Sisters of Mercy,
The West Coast Pop Art Experimental Band,
Brothers Johnson,
Gang Green,
Eyeless In Gaza,
The Toasters,
The Cramps,
Cecil Taylor,
Urselle,
Young Marble Giants,
Boogie Down Productions,
PIL,
the Human League,
Mary Jane Girls,
Rotary Connection,
The Fortunes,
The Mighty Diamonds,
Siouxsie and the Banshees,
Bluetip,
La Düsseldorf,
This Heat,
Arab on Radar,
The Detroit Cobras,
Kurtis Blow,
Lafayette Afro Rock Band,
Talk Talk,
China Crisis,
The Slits,
Selector Dub Narcotic,
Deepchord,
The Move,
Robert Wyatt,
The Gories,
Pantaleimon,
The Happenings,
Delon & Dalcan,
The Index,
Bizarre Inc.,
Pylon,
Howard Jones,
Man Parrish,
Robert Görl,
MC5,
Das Ding,
The Peanut Butter Conspiracy,
Fear,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.