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 Zimbabwe and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Tokyo 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 oboe 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 Anthony Braxton 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 Bizarre Inc.. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Manfred Mann's Earth Band,
Swell Maps,
Model 500,
Crispy Ambulance,
Jacob Miller,
Ludus,
Tres Demented,
Barbara Tucker,
Lou Reed & John Cale,
The Fuzztones,
David McCallum,
Dorothy Ashby,
Jimmy McGriff,
Visage,
Urselle,
Buzzcocks,
Barclay James Harvest,
Masters at Work,
London Community Gospel Choir,
The Slits,
Ralphi Rosario,
Unwound,
Grey Daturas,
Maleditus Sound,
Roger Hodgson,
Schoolly D,
Gregory Isaacs,
Bobbi Humphrey,
CMW,
Oppenheimer Analysis,
Au Pairs,
Stereo Dub,
Ash Ra Tempel,
Roy Ayers,
Pere Ubu,
Terror Squad Feat. Camron,
Parry Music,
Icehouse,
The Five Americans,
Motorama,
The Happenings,
Lee Hazlewood,
Liaisons Dangereuses,
Funkadelic,
Kaleidoscope,
Toni Rubio,
Deutsch Amerikanische Freundschaft,
Colin Newman,
Country Teasers,
Arab on Radar,
JFA,
Pete Rock & C.L. Smooth,
Unrelated Segments,
Bauhaus,
Roxy Music,
The Fire Engines,
Adolescents,
The Beau Brummels,
The Martian, The Martian, The Martian, The Martian.
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.