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 Austria and from Manchester.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Copenhagen 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 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 Fugazi to the rap kids.
I played it at the 40 Watt.
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 Peter & Gordon. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
Andrew Ashong & Theo Parrish,
The Dave Clark Five,
The Pretty Things,
Eric Dolphy,
The Velvet Underground,
D'Angelo,
Sly & The Family Stone,
Beasts of Bourbon,
Max Romeo,
Mandrill,
Thinking Fellers Union Local 282,
Ultramagnetic MC's,
Toni Rubio,
Kool Moe Dee,
Faust,
The Residents,
Saccharine Trust,
Amon Düül,
Nick Fraelich,
The Slackers,
Jeff Mills,
The Chocolate Watch Band,
Robert Wyatt,
Bootsy Collins,
Byron Stingily,
Spoonie Gee,
The Victims,
Sonic Youth,
Chrome,
The Star Department,
The Move,
Black Bananas,
Lower 48,
Slave,
Bang on a Can All-Stars,
David Bowie,
Public Enemy,
The West Coast Pop Art Experimental Band,
Judy Mowatt,
Selector Dub Narcotic,
Duran Duran,
John Coltrane,
Marmalade,
Anthony Braxton,
Yellowson,
Crispy Ambulance,
The Alarm Clocks,
Cybotron,
Nas,
Captain Beefheart & His Magic Band,
The United States of America,
Lou Reed & John Cale,
Jandek,
Harry Pussy,
The Music Machine,
L. Decosne,
Kauko Röyhkä ja Narttu,
The Evens,
The Stooges,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.