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 Marshall Islands and from Stockholm.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Accra 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 Ubu practice in a loft in Cleveland.
I was working on the marimba 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 Pole to the punk 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 Youth Brigade. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Prince Buster 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Pantytec,
Rapeman,
The Happenings,
Alton Ellis,
Major Organ And The Adding Machine,
Kauko Röyhkä ja Narttu,
MC5,
The Gladiators,
Richard Hell and the Voidoids,
Electric Prunes,
The Real Kids,
Bobby Sherman,
OOIOO,
Michelle Simonal,
The Selecter,
Nas,
Jacob Miller,
The Black Dice,
Wire,
Hot Snakes,
Aaron Thompson,
Letta Mbulu,
Stiv Bators,
Althea and Donna,
Kings Of Tomorrow,
Mantronix,
Peter & Gordon,
Ossler,
The Moleskins,
The Seeds,
The Sisters of Mercy,
The Fall,
Magma,
The Count Five,
Kango’s Stein Massive,
The West Coast Pop Art Experimental Band,
Q and Not U,
Pantaleimon,
Stetsasonic,
Soulsonic Force,
Swell Maps,
The Durutti Column,
Don Cherry,
Mandrill,
X-101,
The Techniques,
L. Decosne,
Dawn Penn,
Idris Muhammad,
Pole,
Stockholm Monsters,
the Swans,
The Dave Clark Five,
Moebius,
Ken Boothe,
Vladislav Delay,
T. Rex,
F. McDonald,
Country Teasers,
Cal Tjader,
Groovy Waters,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.