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 Glasgow.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Tehran 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin 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 R.M.O. to the grime kids.
I played it at the Troubador.
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 The Associates. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Crash Course in Science,
The J.B.'s,
Livin' Joy,
Letta Mbulu,
Zero Boys,
Howard Jones,
The Slits,
Big Daddy Kane,
Eden Ahbez,
Minutemen,
Camberwell Now,
Saccharine Trust,
Visage,
Swans,
Soul Sonic Force,
Second Layer,
JFA,
The Buckinghams,
Terrestrial Tones,
Dr. Dre and Snoop Doggy Dog,
Monolake,
Thinking Fellers Union Local 282,
Lyres,
Sun City Girls,
Barbara Tucker,
Severed Heads,
Freddie Wadling,
The Gap Band,
The Busters,
Siouxsie and the Banshees,
Massinfluence,
Camouflage,
Skaos,
The Motions,
Roger Hodgson,
Deakin,
Funkadelic,
Dead Boys,
Darondo,
Vladislav Delay,
Swell Maps,
Boz Scaggs,
The Toasters,
Dark Day,
The Martian,
Wire,
Spoonie Gee,
Buzzcocks,
Cal Tjader,
Brothers Johnson,
Lightning Bolt,
Youth Brigade,
The Cowsills,
The Monks,
The Music Machine,
Pole,
Leonard Cohen,
Japan,
Khruangbin,
Stereo Dub,
Jawbox, Jawbox, Jawbox, Jawbox.
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.