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 Canada and from Halifax.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Glasgow 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Blackbyrds to the punk 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 the Slits. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Minor Threat,
Tres Demented,
The Cowsills,
Nirvana,
Kango’s Stein Massive,
Index,
Skaos,
Ornette Coleman,
Barrington Levy,
Con Funk Shun,
Lakeside,
Amon Düül II,
Crooked Eye,
LL Cool J,
Connie Case,
Bill Wells,
Johnny Clarke,
Deepchord,
Saccharine Trust,
Scratch Acid,
Magazine,
Soft Machine,
Juan Atkins,
Marshall Jefferson,
John Holt,
John Foxx,
Heavy D & The Boyz,
Soft Cell,
Anthony Braxton,
The Buckinghams,
The Cramps,
The Victims,
The Cure,
The Detroit Cobras,
Alphaville,
Pulsallama,
David McCallum,
Clear Light,
In Retrospect,
Lalo Schifrin,
The Electric Prunes,
Ten City,
cv313,
UT,
Mad Mike,
Johnny Osbourne,
Jawbox,
Khruangbin,
Girls At Our Best!,
Ituana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rotary Connection,
The Associates,
Boz Scaggs,
Television,
Kas Product,
Young Marble Giants,
JFA,
Depeche Mode,
Lightning Bolt,
The Sound, The Sound, The Sound, The Sound.
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.