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 Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1977.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Names to the electroclash kids.
I played it at the Crocodile.
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 Aswad. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Dorothy Ashby,
Grandmaster Flash,
Albert Ayler,
These Immortal Souls,
Oneida,
The Detroit Cobras,
Amazonics,
The Dave Clark Five,
Blossom Toes,
The Dead C,
A Flock of Seagulls,
Yusef Lateef,
Suicide,
The Saints,
Radiohead,
Model 500,
Ralphi Rosario,
Shoche,
Throbbing Gristle,
Massinfluence,
AZ,
The Flesh Eaters,
Negative Approach,
Flipper,
Harmonia,
Sparks,
Fort Wilson Riot,
Siouxsie and the Banshees,
Theoretical Girls,
Todd Terry,
The Slits,
Avey Tare's Slasher Flicks,
Josef K,
Bobbi Humphrey,
Matthew Bourne,
Pole,
Archie Shepp,
Junior Murvin,
Ultravox,
Connie Case,
Lakeside,
Black Sheep,
Charles Mingus,
Q65,
The Mummies,
John Cale,
MC5,
The Toasters,
Joensuu 1685,
Fugazi,
Minny Pops,
Fela Kuti,
It's A Beautiful Day,
Unrelated Segments,
Black Flag,
The Wake,
Deadbeat,
The Knickerbockers,
Boz Scaggs,
Fifty Foot Hose,
Mary Jane Girls,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.