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 Germany and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Tehran and Tokyo.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 The Chocolate Watch Band to the grime kids.
I played it at Trash.
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 Lalann. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Ludus 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Audionom,
Sparks,
Amon Düül II,
Eden Ahbez,
Bill Wells,
Accadde A,
Eric Copeland,
Index,
The Real Kids,
Susan Cadogan,
Lou Reed & Metallica,
Roy Ayers Ubiquity,
DJ Sneak,
The Cure,
Agent Orange,
Talk Talk,
Cameo,
Banda Bassotti,
John Cale,
Strawberry Alarm Clock,
Skarface,
The Angels of Light,
Hot Snakes,
Bob Dylan,
Todd Terry,
Sunsets and Hearts,
Joyce Sims,
Can,
Unwound,
Joey Negro,
Glambeats Corp.,
the Association,
Jesper Dahlback,
Fort Wilson Riot,
Jerry's Kids,
The Birthday Party,
Lebanon Hanover,
Josef K,
Eric B and Rakim,
Pharaoh Sanders and the Fire Engines,
It's A Beautiful Day,
Sticky Fingaz feat. Raekwon,
Jerry Gold Smith,
Camberwell Now,
The Last Poets,
Gregory Isaacs,
La Düsseldorf,
Monks,
The Fire Engines,
The Fuzztones,
The Vogues,
Lakeside,
Sexual Harrassment,
Howard Jones,
Sun Ra Arkestra,
Monolake,
The Victims,
Notorious BIG live in Amsterdam,
The Black Dice,
Lou Reed,
Graham Central Station,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.