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 Mongolia and from Johannesburg.
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 1979.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 Maleditus Sound to the rock kids.
I played it at the Crocodile.
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 Smoke. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal funk 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 organ and an organ and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Gil Scott-Heron & Brian Jackson,
The Doobie Brothers,
Amon Düül,
Pantytec,
Jandek,
Marvin Gaye,
John Lydon,
Grauzone,
Technova,
The Doors,
Spoonie Gee,
Brothers Johnson,
Connie Case,
Underground Resistance,
Echospace,
LL Cool J,
Radio Birdman,
The Standells,
Ponytail,
Mr. Review,
Wally Richardson,
K-Klass,
Stockholm Monsters,
Andrew Ashong & Theo Parrish,
Eurythmics,
Electric Light Orchestra,
Duran Duran,
Soft Machine,
Eric Dolphy,
The Tremeloes,
Black Bananas,
Johnny Clarke,
Crispy Ambulance,
The Raincoats,
Y Pants,
The Associates,
Ultra Naté,
The Knickerbockers,
Yellowson,
Lou Reed,
Oblivians,
Lyres,
The Fall,
Easy Going,
The Victims,
Soul Sonic Force,
Black Flag,
Wighnomy Brothers & Robag Wruhme,
UT,
Kings Of Tomorrow,
Rotary Connection,
Chrome,
ABC,
Derrick May,
The Modern Lovers,
Mary Jane Girls,
Oppenheimer Analysis,
The Blues Magoos,
Tommy Roe,
Rhythm & Sound,
Fugazi, Fugazi, Fugazi, Fugazi.
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.