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 Monaco and from Cairo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 The Saints to the grime kids.
I played it at Cafe Wha.
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 New York Dolls. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Man Parrish,
Skaos,
Girls At Our Best!,
the Soft Cell,
The Music Machine,
Idris Muhammad,
Tubeway Army,
Excepter,
H. Thieme,
The Red Krayola,
Aural Exciters,
Eden Ahbez,
Bauhaus,
Thee Headcoats,
Gichy Dan,
Soul II Soul,
Tropical Tobacco,
The Wake,
Essential Logic,
Barbara Tucker,
Lyres,
Blancmange,
Peter & Gordon,
Cameo,
The Monochrome Set,
Magma,
Joy Division,
MC5,
Aaron Thompson,
Sun City Girls,
Ponytail,
Howard Jones,
Ronan,
The Trojans,
Hardrive,
Judy Mowatt,
CMW,
Boredoms,
New York Dolls,
The Selecter,
Sexual Harrassment,
R.M.O.,
The Pretty Things,
Albert Ayler,
Goldenarms,
Captain Beefheart & His Magic Band,
The Electric Prunes,
Roy Ayers,
John Foxx,
Sandy B,
Clear Light,
the Swans,
Fluxion,
Frankie Knuckles,
Lou Reed & John Cale,
AZ,
Sonic Youth,
Zapp,
Yusef Lateef,
the Association,
Charles Mingus,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.