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 Philippines and from Paris.
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 1968 to 1977.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Shanghai 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 oboe sounds with much patience.
I was there when David Bowie 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 Ten City to the jazz kids.
I played it at the Spitz.
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 Peter and Kerry. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Subhumans 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 '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Silicon Teens,
James White and The Blacks,
The Count Five,
Brick,
Cal Tjader,
Brass Construction,
Siglo XX,
Gil Scott Heron,
Archie Shepp,
Aaron Thompson,
Glambeats Corp.,
The Durutti Column,
Y Pants,
The Last Poets,
Rhythm & Sound,
Gil Scott-Heron and Jamie xx,
Monks,
Sun Ra,
Rowland S Howard / Lydia Lunch,
The Velvet Underground,
Maurizio,
The Move,
Mantronix,
Darondo,
Notorious Big And Bone Thugs,
48th St. Collective,
Nirvana,
Circle Jerks,
Soft Machine,
The Moleskins,
Outsiders,
Magazine,
The Dave Clark Five,
Sonny Sharrock,
Stockholm Monsters,
Eve St. Jones,
Nils Olav,
Strawberry Alarm Clock,
Zapp,
Alphaville,
Rites of Spring,
Black Sheep,
The Fortunes,
Blancmange,
Q65,
Cabaret Voltaire,
The Angels of Light,
Motorama,
Dorothy Ashby,
The Sonics,
Malaria!,
Kas Product,
Excepter,
Gastr Del Sol,
The Index,
Nik Kershaw,
Anthony Braxton,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.