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 Uganda and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Pylon to the punk 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 Jesus and Mary Chain. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
The Shadows of Knight,
Minutemen,
Index,
The Cosmic Jokers,
Art Ensemble Of Chicago,
Avey Tare,
James Chance & The Contortions,
Radiohead,
Cecil Taylor,
Yazoo,
Scratch Acid,
Robert Hood,
Nation of Ulysses,
Connie Case,
FM Einheit,
Gerry Rafferty,
De La Soul & Jungle Brothers,
Technova,
Model 500,
Eurythmics,
Royal Trux,
Stereo Dub,
Unrelated Segments,
Flamin' Groovies,
Cymande,
Agent Orange,
Oneida,
Desert Stars,
Maurizio,
The Saints,
Easy Going,
Nico,
Gregory Isaacs,
Depeche Mode,
Los Fastidios,
Bauhaus,
Kool Moe Dee,
Ultravox,
Dead Boys,
Barbara Tucker,
Minnie Riperton,
Bronski Beat,
Juan Atkins,
The Selecter,
Röyhkä ja Rättö ja Lehtisalo,
The Modern Lovers,
Rotary Connection,
Grey Daturas,
Chris Corsano,
Japan,
Rahsaan Roland Kirk,
PIL,
Sam Rivers,
The Motions,
Ken Boothe,
World's Most,
Kas Product,
X-102,
Todd Rundgren,
Zero Boys,
Jesper Dahlback,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.