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 Honduras 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 1962 to 1974.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 Jacob Miller 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 Freddie Wadling. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every the Human League 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Lakeside,
Rowland S Howard / Lydia Lunch,
Nico,
Ajijia Myrayebe,
The Moody Blues,
Marvin Gaye,
Icehouse,
Eddi Front,
X-101,
The J.B.'s,
Sister Nancy,
D'Angelo,
Henry Cow,
Vainqueur,
Cluster,
Siglo XX,
Bill Wells,
Ituana,
Fat Boys,
Nils Olav,
10cc,
Hashim,
Bizarre Inc.,
Fort Wilson Riot,
Maleditus Sound,
Isaac Hayes,
Todd Terry,
Moby Grape,
Dual Sessions,
Jesper Dahlback,
Stereo Dub,
The Victims,
Howard Jones,
Donald Byrd,
Sällskapet,
Flipper,
Manfred Mann's Earth Band,
Index,
Oneida,
Charles Mingus,
Eli Mardock,
Skriet,
Juan Atkins,
Popol Vuh,
Pierre Henry,
Soft Machine,
The Seeds,
Morten Harket,
Vladislav Delay,
Alton Ellis,
Judy Mowatt,
Nas,
Brand Nubian,
The Barracudas,
DNA,
the Sonics,
Fifty Foot Hose,
L. Decosne,
the Germs,
Bronski Beat,
Cymande, Cymande, Cymande, Cymande.
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.