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 Israel and from Mexico City.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Sun Ra to the dance kids.
I played it at the Troubador.
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 Howard Jones. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Sixth Finger,
David McCallum,
The Modern Lovers,
The Jesus and Mary Chain,
The Five Americans,
Crash Course in Science,
Scan 7,
Model 500,
Justin Hinds & The Dominoes,
Shoche,
Eurythmics,
Joyce Sims,
Cymande,
This Heat,
Amon Düül II,
Gang Starr,
The Seeds,
Charles Mingus,
Stereo Dub,
Gang Gang Dance,
Mo-Dettes,
Art Ensemble Of Chicago,
Prince Buster,
Sunsets and Hearts,
the Human League,
ABBA,
Motorama,
Television Personalities,
Quantec,
Gang Green,
Moss Icon,
MC5,
Animal Collective,
Franke,
Lyres,
Section 25,
The Count Five,
Kool G Rap & DJ Polo,
Outsiders,
Quadrant,
Pylon,
Cabaret Voltaire,
Shuggie Otis,
Eden Ahbez,
Joe Finger,
Reuben Wilson,
U.S. Maple,
Jimmy McGriff,
Second Layer,
Scratch Acid,
The Victims,
Aswad,
Flamin' Groovies,
Clear Light,
Amazonics,
June Days,
Lucky Dragons,
Mark Hollis,
Carl Craig,
The Birthday Party,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.