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 Afghanistan and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Wire practice in a loft in Watford.
I was working on the mellotron 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 John Coltrane to the disco 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 Fear. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Stockholm Monsters,
Marcia Griffiths,
The Electric Prunes,
Matthew Bourne,
Anthony Braxton,
Avey Tare,
Cecil Taylor,
Intrusion,
Nirvana,
Fear,
Gang of Four,
Althea and Donna,
Sly & The Family Stone,
Warren Ellis,
Goldenarms,
Moebius,
The Real Kids,
Avey Tare's Slasher Flicks,
Pantaleimon,
Jacob Miller,
The Selecter,
Bluetip,
Kango’s Stein Massive,
The Remains,
Radiohead,
UT,
John Coltrane,
Todd Rundgren,
Siouxsie and the Banshees,
June of 44,
Average White Band,
Unwound,
The Mummies,
Nation of Ulysses,
Harmonia,
Delta 5,
Laurel Aitken,
the Normal,
Sun City Girls,
Jeff Lynne,
Harpers Bizarre,
Black Pus,
Roy Ayers Ubiquity,
The Mojo Men,
The Victims,
La Düsseldorf,
Mantronix,
The Zeros,
The Martian,
Motorama,
Crash Course in Science,
Justin Hinds & The Dominoes,
Grandmaster Flash and the Furious Five,
Rod Modell,
Art Ensemble Of Chicago,
Tomorrow,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
The Buckinghams,
Theoretical Girls,
Main Source,
Lou Reed & Metallica,
Camron Feat. Jay Z And Juelz,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.