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 St Lucia and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Stockholm 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 A Certain Ratio to the jazz 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 Jeff Lynne. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Fort Wilson Riot,
The Fire Engines,
U.S. Maple,
Lou Reed & John Cale,
Outsiders,
Pantaleimon,
Aswad,
Suburban Knight,
The Moleskins,
Robert Görl,
Tim Buckley,
Moss Icon,
The Seeds,
Oppenheimer Analysis,
Fear,
Sonic Youth,
Brass Construction,
Dawn Penn,
Von Mondo,
Richard Hell and the Voidoids,
Scott Walker,
The Blackbyrds,
Peter and Kerry,
the Human League,
Kool Moe Dee,
The Mighty Diamonds,
Buzzcocks,
Index,
Essential Logic,
Au Pairs,
Dennis Brown,
R.M.O.,
The Selecter,
The Dave Clark Five,
Susan Cadogan,
Marc Almond,
Tres Demented,
F. McDonald,
Selector Dub Narcotic,
Eric Copeland,
The Doors,
Babytalk,
Camron Feat. Memphis Bleek And Beenie Seigel,
MC5,
The Motions,
Anthony Braxton,
X-102,
The Beau Brummels,
Sixth Finger,
Deadbeat,
Nils Olav,
Audionom,
Patti Smith,
Albert Ayler,
Peter & Gordon,
Sun City Girls,
Chris & Cosey,
Youth Brigade,
Lakeside,
Popol Vuh,
The Saints,
Groovy Waters,
The Electric Prunes,
The Cramps, The Cramps, The Cramps, The Cramps.
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.