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 Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Seoul 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 mellotron 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 Angry Samoans to the jazz kids.
I played it at the Hacienda.
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 Cluster. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Matthew Halsall 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
The Gladiators,
T.S.O.L.,
The Wake,
The Dead C,
Bang On A Can,
Blake Baxter,
Electric Light Orchestra,
Country Joe & The Fish,
Heaven 17,
Pussy Galore,
Jandek,
Nation of Ulysses,
Inner City,
Andrew Ashong & Theo Parrish,
Flamin' Groovies,
Harmonia,
Can,
Sam Rivers,
FM Einheit,
Freddie Wadling,
Dead Boys,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mantronix,
Brick,
X-101,
Pharaoh Sanders and the Fire Engines,
Subhumans,
The Smiths,
Basic Channel,
The Vogues,
Pagans,
David Bowie,
The Index,
Laurel Aitken,
Gang Green,
Jimmy McGriff,
Mr. Review,
The West Coast Pop Art Experimental Band,
Sparks,
Harpers Bizarre,
Al Stewart,
Rekid,
Soulsonic Force,
Pylon,
Unwound,
The New Christs,
Public Enemy,
Television,
The Monochrome Set,
Jawbox,
Lindisfarne,
Main Source,
Sarah Menescal,
Boredoms,
One Last Wish,
The Zeros,
Mary Jane Girls,
Nas,
Visionaries,LMNO, T- Love & Iriscience,
Camberwell Now,
Bill Near,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.