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 Morocco and from Taipei.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Bremen and Manila.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Wake to the techno 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 Television Personalities. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Deakin 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 '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Shoche,
Jesper Dahlback,
Byron Stingily,
Masters at Work,
X-Ray Spex,
Gil Scott-Heron and Jamie xx,
Negative Approach,
Johnny Osbourne,
The Martian,
The Velvet Underground,
Half Japanese,
Flipper,
Liliput,
Sight & Sound,
Al Stewart,
The Knickerbockers,
Cheater Slicks,
The Smoke,
Cecil Taylor,
Porter Ricks,
Second Layer,
The Doors,
Isaac Hayes,
Avey Tare's Slasher Flicks,
Scion,
Youth Brigade,
Banda Bassotti,
The Victims,
Jerry's Kids,
Gregory Isaacs,
The Cure,
Michelle Simonal,
The Misunderstood,
Nick Fraelich,
Aswad,
Red Lorry Yellow Lorry,
Zapp,
Marmalade,
Piero Umiliani,
In Retrospect,
Black Pus,
Chrome,
Black Moon,
Lalo Schifrin,
John Foxx,
Grandmaster Flash and the Furious Five,
Eden Ahbez,
The Seeds,
Organ,
Public Image Ltd.,
Grey Daturas,
Swans,
Bob Dylan,
The Cowsills,
DJ Sneak,
Lee Hazlewood,
ABC,
a-ha,
Eyeless In Gaza,
Gian Franco Pienzio,
K-Klass,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.