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 Comoros and from Madrid.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1960 to 1977.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Copenhagen 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Qualms to the funk kids.
I played it at the Astoria.
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 Rosa Yemen. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Quando Quango,
Flipper,
Oppenheimer Analysis,
The Gap Band,
Spandau Ballet,
EPMD,
Slave,
David Axelrod,
Dual Sessions,
Soft Machine,
Idris Muhammad,
Arab on Radar,
Soul II Soul,
Sällskapet,
Arthur Verocai,
The Monochrome Set,
Urselle,
ABC,
Andrew Hill,
The Toasters,
Warren Ellis,
Wighnomy Brothers & Robag Wruhme,
Rekid,
Black Sheep,
Lalo Schifrin,
One Last Wish,
Scrapy,
Altered Images,
Brothers Johnson,
The Electric Prunes,
Bootsy Collins,
The Young Rascals,
Max Romeo,
Angels of Light & Akron/Family,
Cymande,
Rowland S Howard / Lydia Lunch,
Pharoah Sanders,
Andrew Ashong & Theo Parrish,
Chris & Cosey,
John Coltrane,
Icehouse,
Skarface,
Bootsy's Rubber Band,
Man Parrish,
Joy Division,
Lyres,
Fat Boys,
These Immortal Souls,
Nils Olav,
The Walker Brothers,
Skriet,
Joey Negro,
Michelle Simonal,
Larry & the Blue Notes,
Tom Boy,
Terror Squad Feat. Camron,
Kurtis Blow,
Gichy Dan,
The Leaves,
Bluetip,
Sound Behaviour,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.