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 Argentina and from Johannesburg.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Seoul and Jakarta.
I'm losing my edge to the art-school Mexico City 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Funky Four + One to the techno kids.
I played it at the Crocodile.
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 Skatalites. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Negative Approach 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
The Saints,
D'Angelo,
Vladislav Delay,
The Gun Club,
Brand Nubian,
Oppenheimer Analysis,
Bizarre Inc.,
John Cale,
Sam Rivers,
Nick Cave & The Bad Seeds,
Make Up,
The Dave Clark Five,
L. Decosne,
Qualms,
Eli Mardock,
Marcia Griffiths,
Dual Sessions,
Gregory Isaacs,
Pylon,
Fugazi,
Schoolly D,
Duran Duran,
Inner City,
Howard Jones,
Sällskapet,
Andrew Hill,
Harry Pussy,
Y Pants,
The Moleskins,
Gil Scott Heron,
Joey Negro,
Man Parrish,
Lungfish,
The United States of America,
Jimmy McGriff,
Sound Behaviour,
Wolf Eyes,
Blancmange,
Funky Four + One,
Simply Red,
Peter and Kerry,
The Red Krayola,
The Jesus and Mary Chain,
Tubeway Army,
Model 500,
Rekid,
Yellowson,
Popol Vuh,
Eric B and Rakim,
Rufus Thomas,
Eve St. Jones,
Jawbox,
Ten City,
Swell Maps,
Scratch Acid,
ABC,
Bootsy Collins,
Delon & Dalcan,
Peter Gordon & Love of Life Orchestra,
Flamin' Groovies,
New York Dolls,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.