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 Montenegro and from Woodstock.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Portland 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 organ sounds with much patience.
I was there when Michael McDonald 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 Henry Cow to the crunk kids.
I played it at the Roxy.
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 Rotary Connection. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
The Gories,
CMW,
10cc,
Echo & the Bunnymen,
MDC,
Faraquet,
Intrusion,
Goldenarms,
OOIOO,
Jeff Lynne,
Rhythim Is Rhythim,
The Misunderstood,
Glambeats Corp.,
Con Funk Shun,
Tubeway Army,
Neil Young & Crazy Horse,
Dark Day,
Ossler,
Robert Görl,
Fifty Foot Hose,
World's Most,
Joey Negro,
The Fall,
Grandmaster Flash and the Furious Five,
Man Parrish,
the Bar-Kays,
Blancmange,
The Smiths,
Negative Approach,
The Black Dice,
Babytalk,
Icehouse,
Suicide,
Zapp,
Skriet,
PIL,
Lalo Schifrin,
Skarface,
Cameo,
Ornette Coleman,
Strawberry Alarm Clock,
Gil Scott Heron,
X-101,
Underground Resistance,
Tom Boy,
Alison Limerick,
Thompson Twins,
The Men They Couldn't Hang,
Charles Mingus,
Wire,
Hardrive,
Spandau Ballet,
Boogie Down Productions,
Wasted Youth,
Radiopuhelimet,
The Cosmic Jokers,
Hasil Adkins,
Marmalade,
U.S. Maple,
Model 500,
New Order, New Order, New Order, New Order.
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.