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 Vietnam and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Bremen 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 güiro 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 Severed Heads to the disco kids.
I played it at the Hacienda.
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 Bobbi Humphrey. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Amon Düül II,
The Fugs,
Angels of Light & Akron/Family,
Tim Buckley,
Robert Wyatt,
The Gap Band,
R.M.O.,
The Human League,
Juan Atkins,
Minor Threat,
The American Breed,
Sandy B,
Metal Thangz,
Quantec,
The Invisible,
Alton Ellis,
Marcia Griffiths,
Aloha Tigers,
Cameo,
Rotary Connection,
Supertramp,
Television,
a-ha,
Soft Cell,
Blossom Toes,
Sex Pistols,
Gabor Szabo,
Sun Ra Arkestra,
Jacob Miller,
Masters at Work,
Eli Mardock,
Bang On A Can,
Minny Pops,
Rekid,
AZ,
Selector Dub Narcotic,
Lou Christie,
Arab on Radar,
The Velvet Underground,
Scott Walker,
Kenny Larkin,
Camouflage,
Silicon Teens,
Art Ensemble Of Chicago,
The Names,
John Foxx,
James White and The Blacks,
Cabaret Voltaire,
Scott Walker + Sunn O))),
The Skatalites,
Delta 5,
Ultimate Spinach,
Archie Shepp,
Urselle,
Camberwell Now,
The Sound,
Notorious BIG live in Amsterdam,
The Music Machine,
Grandmaster Flash and the Furious Five,
Agitation Free,
Soft Machine,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.