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 Samoa and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Franke to the rap 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 Connie Case. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Matthew Halsall,
Sun City Girls,
Vaughan Mason & Crew,
Brass Construction,
Brothers Johnson,
Curtis Mayfield,
Royal Trux,
Bauhaus,
Inner City,
Public Enemy,
Max Romeo,
The Wake,
The Sisters of Mercy,
MC5,
Crispian St. Peters,
Scientists,
Altered Images,
Intrusion,
Harry Pussy,
New York Dolls,
Chris & Cosey,
The Residents,
Rowland S Howard / Lydia Lunch,
Michelle Simonal,
Thee Headcoats,
The Litter,
Nirvana,
The Music Machine,
London Community Gospel Choir,
Lou Reed & John Cale,
The Kinks,
De La Soul & Jungle Brothers,
Marc Almond,
Franke,
Donald Byrd,
Dorothy Ashby,
Bang On A Can,
The Star Department,
Eurythmics,
The Raincoats,
Graham Central Station,
Ash Ra Tempel,
John Cale,
Cymande,
Visage,
The Moody Blues,
OOIOO,
Heavy D & The Boyz,
Carl Craig,
Jeff Mills,
Porter Ricks,
Sällskapet,
The Electric Prunes,
Aural Exciters,
Saccharine Trust,
Notorious Big And Bone Thugs,
The Happenings,
Aswad,
Depeche Mode,
Colin Newman,
Pierre Henry,
Dark Day, Dark Day, Dark Day, Dark Day.
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.