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 Algeria 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 1966 to 1976.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Lagos 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 808 sounds with much patience.
I was there when Robert Palmer 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 Bootsy's Rubber Band to the techno 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 Davy DMX. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Aloha Tigers,
Vainqueur,
Panda Bear,
Wolf Eyes,
These Immortal Souls,
John Coltrane,
Simply Red,
The Seeds,
Quando Quango,
The Angels of Light,
Röyhkä ja Rättö ja Lehtisalo,
London Community Gospel Choir,
Can,
Tommy Roe,
Au Pairs,
Wally Richardson,
John Holt,
Tears for Fears,
Adolescents,
The Fall,
U.S. Maple,
Lakeside,
Oppenheimer Analysis,
Maleditus Sound,
Agitation Free,
Television Personalities,
Jeff Lynne,
Reuben Wilson,
The Kinks,
Jimmy McGriff,
MDC,
cv313,
Buzzcocks,
the Normal,
CMW,
Bob Dylan,
Johnny Osbourne,
Rotary Connection,
Eyeless In Gaza,
Kool G Rap & DJ Polo,
8 Eyed Spy,
Richard Hell and the Voidoids,
Carl Craig,
Fear,
Spandau Ballet,
The Blackbyrds,
Cal Tjader,
Joe Smooth,
The Standells,
Severed Heads,
Avey Tare's Slasher Flicks,
Graham Central Station,
Pulsallama,
48th St. Collective,
Rufus Thomas,
A Flock of Seagulls,
Bobby Hutcherson,
The Busters,
the Slits,
New Age Steppers,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.