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 Gabon and from Lagos.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Cairo 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin 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 Ralphi Rosario to the rock 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 Underground Resistance. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Jesper Dahlback 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Crash Course in Science,
Hashim,
Gil Scott Heron,
Kaleidoscope,
Maleditus Sound,
Dave Gahan,
Rosa Yemen,
Mr. Review,
Roy Ayers,
Jacques Brel,
The Neon Judgement,
Shoche,
Graham Central Station,
Idris Muhammad,
The Victims,
Colin Newman,
Angels of Light & Akron/Family,
Sam Rivers,
The Last Poets,
DNA,
Aswad,
Amazonics,
The Fire Engines,
Simply Red,
Severed Heads,
The Mojo Men,
Ohio Players,
Loose Ends,
Flipper,
Rhythm & Sound,
Camouflage,
Organ,
Todd Terry,
Warren Ellis,
Average White Band,
Rapeman,
The Cure,
Minor Threat,
Marine Girls,
the Normal,
Easy Going,
Schoolly D,
Marmalade,
John Lydon,
Lafayette Afro Rock Band,
The Searchers,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Invisible,
Strawberry Alarm Clock,
Lungfish,
Wally Richardson,
Monks,
The Royal Family And The Poor,
Fluxion,
Howard Jones,
Quadrant,
New Order,
Radio Birdman,
Con Funk Shun,
Big Daddy Kane,
The Busters,
The Slackers,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.