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 Philippines and from Copenhagen.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Paris 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 snare sounds with much patience.
I was there when David Bowie 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 Nik Kershaw to the techno kids.
I played it at the Troubador.
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 Traffic Nightmare. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every The Moody Blues 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Moss Icon,
Marine Girls,
Leonard Cohen,
Gary Puckett & The Union Gap,
Infiniti,
The Sonics,
Kango’s Stein Massive,
Girls At Our Best!,
Kerrie Biddell,
Mandrill,
Erasure,
Warren Ellis,
Delon & Dalcan,
Ludus,
The Detroit Cobras,
Sexual Harrassment,
The Toasters,
Metal Thangz,
Ronnie Foster,
Roy Ayers Ubiquity,
Gong,
Zero Boys,
Jeff Mills,
The Wake,
Swell Maps,
Echospace,
Adolescents,
Los Fastidios,
Big Daddy Kane,
Ralphi Rosario,
Young Marble Giants,
The Human League,
Buzzcocks,
Groovy Waters,
E-Dancer,
Rhythim Is Rhythim,
The Golliwogs,
Brand Nubian,
Crispy Ambulance,
Bush Tetras,
Fluxion,
Sight & Sound,
Panda Bear,
Rufus Thomas,
Stockholm Monsters,
Jerry Gold Smith,
Gil Scott-Heron & Brian Jackson,
Kurtis Blow,
Joyce Sims,
Fatback Band,
Mary Jane Girls,
Agent Orange,
Sun Ra Arkestra,
The J.B.'s,
The Real Kids,
Kas Product,
Cecil Taylor,
Jesper Dahlback,
Laurel Aitken,
Q65,
Henry Cow,
Josef K,
Angels of Light & Akron/Family,
the Association, the Association, the Association, the Association.
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.