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 Peru and from Lagos.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Hong Kong 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Echo & the Bunnymen to the dance 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 Sugar Minott. All the underground hits.
All Index tracks. I heard you have a vinyl of every Scion 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Agent Orange,
Public Image Ltd.,
Clear Light,
Nas,
The Dirtbombs,
Anakelly,
Hardrive,
Spandau Ballet,
Be Bop Deluxe,
The Monochrome Set,
In Retrospect,
KRS-One,
Camberwell Now,
Bill Wells,
Max Romeo,
Reuben Wilson,
Tommy Roe,
Gian Franco Pienzio,
Kango’s Stein Massive,
kango's stein massive,
John Foxx,
Deepchord,
The Tremeloes,
Deakin,
Terror Squad Feat. Camron,
Arcadia,
Bush Tetras,
Rekid,
Michelle Simonal,
Brick,
The Smiths,
Urselle,
Jesper Dahlback,
The Doors,
Technova,
Josef K,
The Human League,
The Mojo Men,
Wolf Eyes,
Juan Atkins,
Ten City,
R.M.O.,
Sandy B,
Aloha Tigers,
Public Enemy,
David Axelrod,
Kurtis Blow,
Alton Ellis,
Make Up,
Black Flag,
Todd Terry,
Bobby Womack,
The Invisible,
Au Pairs,
Sexual Harrassment,
The Moody Blues,
Soulsonic Force,
The Birthday Party,
The Detroit Cobras,
Altered Images,
Jawbox, Jawbox, Jawbox, Jawbox.
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.