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 Niger and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Philadelphia 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 The Men They Couldn't Hang to the punk kids.
I played it at the 40 Watt.
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 Inner City. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Infiniti 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Morten Harket,
Dark Day,
Bill Wells,
New York Dolls,
Bootsy Collins,
Gary Puckett & The Union Gap,
Kurtis Blow,
New Age Steppers,
Rites of Spring,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joey Negro,
Dawn Penn,
Blossom Toes,
Ornette Coleman,
Godley & Creme,
Delon & Dalcan,
Cecil Taylor,
Jeru the Damaja,
The Monks,
Bill Near,
The Fugs,
Kango’s Stein Massive,
Lizzy Mercier Descloux,
Ralphi Rosario,
Make Up,
Rakim,
Bob Dylan,
Bauhaus,
Boredoms,
Sonny Sharrock,
Archie Shepp,
Leonard Cohen,
Skriet,
Fear,
The Gories,
Altered Images,
R.M.O.,
Blake Baxter,
Accadde A,
Connie Case,
The Standells,
The Litter,
CMW,
Carl Craig,
Absolute Body Control,
Lou Christie,
Cybotron,
Shuggie Otis,
The Zeros,
Delta 5,
B.T. Express,
Yazoo,
The Pop Group,
Gil Scott-Heron and Jamie xx,
Bang on a Can All-Stars,
The Monochrome Set,
Gabor Szabo,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.