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 El Salvador and from Philadelphia.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school London 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 arpeggiator 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 Ronan to the dance 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 Ornette Coleman. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Gregory Isaacs 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 '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mad Mike record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Selecter,
Theoretical Girls,
Subhumans,
Chris Corsano,
Moss Icon,
Ronan,
The Durutti Column,
Make Up,
Marcia Griffiths,
In Retrospect,
Blake Baxter,
Y Pants,
Pantaleimon,
Symarip,
The New Christs,
Organ,
Teenage Jesus and the Jerks,
The Barracudas,
Black Bananas,
Scion,
Eden Ahbez,
Yellowson,
Peter Gordon & Love of Life Orchestra,
Glenn Branca,
Agitation Free,
Brand Nubian,
Joe Smooth,
Slave,
Ossler,
The Searchers,
Eddi Front,
Gang Starr,
The Gories,
Arab on Radar,
Cabaret Voltaire,
New Age Steppers,
Scratch Acid,
Yaz,
Colin Newman,
Procol Harum,
Unrelated Segments,
Q and Not U,
Al Stewart,
The Invisible,
The Gap Band,
Arthur Verocai,
Dr. Dre and Snoop Doggy Dog,
Lalo Schifrin,
The Electric Prunes,
Howard Jones,
Godley & Creme,
Bill Near,
The Real Kids,
The Martian,
Joy Division,
Skarface,
Wings,
The Names,
Los Fastidios,
Yusef Lateef,
David Bowie,
Sixth Finger,
Q65, Q65, Q65, Q65.
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.