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 Mauritania and from Tehran.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Edmonton 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The Remains to the dance kids.
I played it at the Hacienda.
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 Mark Hollis. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Eurythmics,
The Move,
Unrelated Segments,
Adolescents,
Unwound,
Buzzcocks,
Monolake,
The Fuzztones,
Marc Almond,
The Shadows of Knight,
The Offenders,
Sonny Sharrock,
Chris Corsano,
Suburban Knight,
Pharoah Sanders,
Joey Negro,
Absolute Body Control,
Marshall Jefferson,
Jesper Dahlbäck,
Beasts of Bourbon,
Stereo Dub,
Lou Reed & John Cale,
The Smoke,
Faraquet,
Sound Behaviour,
The Velvet Underground,
The Sound,
Throbbing Gristle,
The Smiths,
Thee Headcoats,
Jeru the Damaja,
Lee Hazlewood,
The Gap Band,
Marvin Gaye,
MC5,
Man Parrish,
June of 44,
Echospace,
The Jesus and Mary Chain,
Sex Pistols,
Visage,
Angry Samoans,
Babytalk,
Swell Maps,
The Five Americans,
Glambeats Corp.,
Albert Ayler,
Archie Shepp,
Faust,
Art Ensemble Of Chicago,
The Slits,
Lafayette Afro Rock Band,
Mark Hollis,
Strawberry Alarm Clock,
Amazonics,
Kenny Larkin,
Avey Tare,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.