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 Antigua and from Portland.
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 1960 to 1973.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Taipei 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the sitar 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 Iggy Pop to the techno kids.
I played it at the Spitz.
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 Patti Smith. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
New Age Steppers,
Henry Cow,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lee Hazlewood,
Crash Course in Science,
Peter & Gordon,
New York Dolls,
Heavy D & The Boyz,
John Lydon,
The Victims,
John Coltrane,
Amon Düül,
Adolescents,
Swans,
This Heat,
Bauhaus,
Maurizio,
Technova,
Inner City,
Ossler,
The Motions,
Stockholm Monsters,
Thinking Fellers Union Local 282,
Q and Not U,
Althea and Donna,
The Young Rascals,
Soul II Soul,
Kurtis Blow,
The Mighty Diamonds,
Albert Ayler,
Rhythim Is Rhythim,
Robert Wyatt,
Main Source,
The Sonics,
Underground Resistance,
The Alarm Clocks,
World's Most,
Minnie Riperton,
Chrome,
Peter and Kerry,
Anthony Braxton,
Unrelated Segments,
The Litter,
Angry Samoans,
Drexciya,
Niagra,
Lou Reed & Metallica,
Dave Gahan,
Television,
Wolf Eyes,
The Golliwogs,
The Last Poets,
The Men They Couldn't Hang,
Faust,
The Residents,
Donald Byrd,
Roger Hodgson,
The Grass Roots,
Hasil Adkins,
The Smoke,
Orchestral Manoeuvres in the Dark,
The Move, The Move, The Move, The Move.
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.