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 St Lucia and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Manchester 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 theremin 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 Ken Boothe to the grime 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 Lou Reed & Metallica. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Electric Prunes,
Black Pus,
Bob Dylan,
the Association,
Second Layer,
X-Ray Spex,
Funkadelic,
Nation of Ulysses,
Eric B and Rakim,
Das Ding,
The Knickerbockers,
Siouxsie and the Banshees,
The Human League,
The Mojo Men,
Marc Almond,
The Names,
JFA,
T. Rex,
Matthew Halsall,
Smog,
Warsaw,
Glenn Branca,
Gang Green,
Groovy Waters,
Radiohead,
Tommy Roe,
EPMD,
Art Ensemble Of Chicago,
Blake Baxter,
Bobby Womack,
Avey Tare's Slasher Flicks,
Yaz,
Ponytail,
Marcia Griffiths,
Thompson Twins,
Roxy Music,
The Young Rascals,
Negative Approach,
Eric Dolphy,
Gabor Szabo,
Dorothy Ashby,
Kauko Röyhkä ja Narttu,
Dark Day,
The Fall,
Royal Trux,
Alison Limerick,
The Doors,
Easy Going,
Slave,
8 Eyed Spy,
PIL,
The Gories,
Q65,
Slick Rick,
KRS-One,
Lou Reed & Metallica,
Jeru the Damaja,
A Certain Ratio,
Faraquet,
Organ,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.