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 Israel and from Glasgow.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Lille 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes 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 Moby Grape to the funk kids.
I played it at the 40 Watt.
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 Make Up. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Dorothy Ashby,
Sexual Harrassment,
Lafayette Afro Rock Band,
Teenage Jesus and the Jerks,
The Litter,
Nick Fraelich,
Richard Hell and the Voidoids,
The Black Dice,
Flamin' Groovies,
Scion,
The Names,
Joy Division,
The Real Kids,
Banda Bassotti,
Kango’s Stein Massive,
Gang Starr,
Kool Moe Dee,
Das Ding,
Wasted Youth,
Von Mondo,
Funkadelic,
Popol Vuh,
Neil Young,
Rapeman,
Pharaoh Sanders and the Fire Engines,
Iggy Pop,
Model 500,
The Busters,
Bad Manners,
Quantec,
The Wake,
Parry Music,
Goldenarms,
John Coltrane,
The Doobie Brothers,
Judy Mowatt,
E-Dancer,
Whodini,
The Fall,
A Certain Ratio,
Wally Richardson,
The Grass Roots,
Nirvana,
Arab on Radar,
Dr. Dre and Snoop Doggy Dog,
Sound Behaviour,
Siglo XX,
Main Source,
Camouflage,
Soul II Soul,
Procol Harum,
Robert Görl,
X-Ray Spex,
James Chance & The Contortions,
Fugazi,
Kas Product,
Lou Reed,
Absolute Body Control,
U.S. Maple,
Pagans,
Crispian St. Peters,
Underground Resistance,
The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor.
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.