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 Slovakia and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Delhi and Manchester.
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 chamberlin 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 Quadrant to the grunge 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 Al Stewart. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your guitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Soft Cell,
Supertramp,
Amon Düül,
10cc,
Johnny Clarke,
Reuben Wilson,
Audionom,
Fatback Band,
Adolescents,
Mary Jane Girls,
Kango’s Stein Massive,
The Mighty Diamonds,
The Electric Prunes,
The Cosmic Jokers,
Rotary Connection,
Pantytec,
Fort Wilson Riot,
Joey Negro,
The J.B.'s,
Sexual Harrassment,
June Days,
Sarah Menescal,
Radiohead,
Sonny Sharrock,
Jerry Gold Smith,
Magma,
Morten Harket,
Sandy B,
Freddie Wadling,
Lou Reed,
Skaos,
Eric Dolphy,
Eyeless In Gaza,
the Fania All-Stars,
Pharoah Sanders,
UT,
The Cramps,
The Gun Club,
Arab on Radar,
Justin Hinds & The Dominoes,
Derrick Morgan,
Barrington Levy,
Country Teasers,
Pierre Henry,
Bill Near,
Hot Snakes,
Siglo XX,
Kerri Chandler,
Johnny Osbourne,
Larry & the Blue Notes,
Grey Daturas,
The Gladiators,
Zapp,
Amon Düül II,
Gang Green,
Bobby Sherman,
Colin Newman,
The Blues Magoos,
Crispy Ambulance,
Black Moon,
Goldenarms,
Funkadelic,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.