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 Spain and from Seoul.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Stockholm 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Brothers Johnson to the jazz 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 The American Breed. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
cv313,
Sarah Menescal,
Country Joe & The Fish,
The Monochrome Set,
Warsaw,
Kenny Larkin,
Harry Pussy,
T.S.O.L.,
Rhythm & Sound,
Von Mondo,
DJ Style,
Eve St. Jones,
Crispian St. Peters,
Stockholm Monsters,
James White and The Blacks,
Arab on Radar,
Khruangbin,
Brand Nubian,
Liaisons Dangereuses,
The Count Five,
The Sound,
Gil Scott-Heron & Brian Jackson,
Public Enemy,
Terror Squad Feat. Camron,
Average White Band,
Pulsallama,
Moby Grape,
Alison Limerick,
Kerri Chandler,
Bobby Byrd,
Interpol,
Crispy Ambulance,
Monolake,
Heaven 17,
Sugar Minott,
Lalo Schifrin,
The Busters,
The Men They Couldn't Hang,
Deadbeat,
Gang Green,
Alphaville,
John Cale,
Marmalade,
The Moleskins,
Half Japanese,
David McCallum,
Monks,
The Motions,
Mars,
Nils Olav,
the Swans,
The Mojo Men,
Yellowson,
Gong,
The Flesh Eaters,
The Skatalites,
Aural Exciters,
the Normal,
The Durutti Column,
Darondo,
Popol Vuh,
Circle Jerks,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.