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 Syria and from Seoul.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Cairo 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 Derrick May to the dance 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 Kango’s Stein Massive. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Kaleidoscope 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 '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Massinfluence,
Skriet,
Joe Smooth,
Arthur Verocai,
Joyce Sims,
Oneida,
8 Eyed Spy,
Pierre Henry,
Desert Stars,
Barry Ungar,
Bush Tetras,
Amon Düül II,
Stereo Dub,
Mandrill,
Vaughan Mason & Crew,
Selector Dub Narcotic,
Surgeon,
Reagan Youth,
Dorothy Ashby,
Charles Mingus,
Mo-Dettes,
The Durutti Column,
The Moleskins,
Parry Music,
Fugazi,
Gil Scott-Heron and Jamie xx,
Das Ding,
Pylon,
Strawberry Alarm Clock,
Beasts of Bourbon,
Camouflage,
Laurel Aitken,
Sam Rivers,
Eve St. Jones,
Be Bop Deluxe,
Cheater Slicks,
Goldenarms,
Eden Ahbez,
Johnny Clarke,
The Standells,
Inner City,
Pussy Galore,
Röyhkä ja Rättö ja Lehtisalo,
The Pop Group,
Ludus,
Chris & Cosey,
the Fania All-Stars,
Bobby Byrd,
Marine Girls,
Teenage Jesus and the Jerks,
Eli Mardock,
The Raincoats,
Toni Rubio,
Bob Dylan,
Gil Scott Heron,
Harmonia,
Buzzcocks,
Danielle Patucci,
The Neon Judgement,
Grauzone,
Black Flag,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.