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 Jordan and from Toronto.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Columbus 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Music Machine to the punk 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 Grandmaster Flash. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every The Count Five 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Ultimate Spinach,
Subhumans,
Supertramp,
Alton Ellis,
Liliput,
Surgeon,
Anthony Braxton,
Oneida,
Mandrill,
Goldenarms,
Colin Newman,
The Wake,
Sad Lovers and Giants,
Todd Rundgren,
Procol Harum,
Eric Copeland,
Los Fastidios,
The Seeds,
Sällskapet,
Cabaret Voltaire,
Sex Pistols,
The Slits,
Soft Machine,
The Searchers,
the Slits,
The Tremeloes,
Janne Schatter,
Michelle Simonal,
Black Flag,
Kurtis Blow,
Eve St. Jones,
Funkadelic,
Pole,
The Gap Band,
Pete Rock & C.L. Smooth,
Y Pants,
The Buckinghams,
Anakelly,
X-102,
Teenage Jesus and the Jerks,
Chris Corsano,
Underground Resistance,
Lou Christie,
Ornette Coleman,
Sunsets and Hearts,
The Raincoats,
Man Eating Sloth,
Loose Ends,
Ken Boothe,
Pulsallama,
The Electric Prunes,
Pylon,
Television,
Lafayette Afro Rock Band,
MC5,
Robert Hood,
Lightning Bolt,
World's Most,
John Holt,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.