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 Azerbaijan and from Sao Paulo.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Toronto 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Tubeway Army to the punk kids.
I played it at the Astoria.
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 The Toasters. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Aaron Thompson,
Drexciya,
John Holt,
the Association,
Marc Almond,
Blake Baxter,
Franke,
Steve Hackett,
Essential Logic,
Mark Hollis,
Anakelly,
Fad Gadget,
World's Most,
Young Marble Giants,
Todd Terry,
Ash Ra Tempel,
Lizzy Mercier Descloux,
The Human League,
Masters at Work,
The Move,
the Sonics,
Stiv Bators,
Toni Rubio,
John Cale,
This Heat,
The Vogues,
LL Cool J,
Procol Harum,
Talk Talk,
Bronski Beat,
Ludus,
The United States of America,
Silicon Teens,
Intrusion,
Marshall Jefferson,
The Trojans,
Lee Hazlewood,
Minutemen,
A Certain Ratio,
Charles Mingus,
The Wake,
Beasts of Bourbon,
Rufus Thomas,
The Selecter,
Boredoms,
Barry Ungar,
The Happenings,
Excepter,
Fifty Foot Hose,
Ultra Naté,
Swell Maps,
DeepChord presents Echospace,
Rosa Yemen,
Von Mondo,
Ponytail,
Michelle Simonal,
Wire,
Hardrive,
Scion,
Lalann,
Nas,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.