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 Guinea-Bissau and from Madrid.
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 1972.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Bremen 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 808 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 Gian Franco Pienzio to the punk kids.
I played it at the Spitz.
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 Red Lorry Yellow Lorry. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Susan Cadogan,
Laurel Aitken,
Eli Mardock,
Ajijia Myrayebe,
Ornette Coleman,
Aaron Thompson,
The Misunderstood,
Liliput,
Joe Smooth,
B.T. Express,
The Seeds,
Kas Product,
Larry & the Blue Notes,
The Dead C,
Inner City,
The Zeros,
The Slackers,
Robert Wyatt,
Bootsy Collins,
Altered Images,
Toni Rubio,
Ultravox,
Eric Dolphy,
Metal Thangz,
Ash Ra Tempel,
Cameo,
Siouxsie and the Banshees,
Funkadelic,
Swans,
This Heat,
Isaac Hayes,
Patti Smith,
Minor Threat,
Black Pus,
Japan,
The Doobie Brothers,
Pussy Galore,
Agent Orange,
Donny Hathaway,
Parry Music,
Funky Four + One,
Andrew Ashong & Theo Parrish,
Beasts of Bourbon,
The Red Krayola,
Lee Hazlewood,
The Pop Group,
Flamin' Groovies,
cv313,
The Gories,
Interpol,
Gil Scott-Heron & Brian Jackson,
Absolute Body Control,
Black Bananas,
The Moleskins,
Unrelated Segments,
H. Thieme,
Grandmaster Flash and the Furious Five,
F. McDonald,
Jacob Miller,
Bauhaus,
Camberwell Now,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.