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 Swaziland and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer 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 Suicide to the techno 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 Model 500. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Country Teasers,
Jacob Miller,
Freddie Wadling,
Kas Product,
Brass Construction,
The Happenings,
Al Stewart,
Oneida,
Gang Gang Dance,
The J.B.'s,
Gabor Szabo,
Albert Ayler,
Fifty Foot Hose,
Harpers Bizarre,
The Slackers,
Prince Buster,
James White and The Blacks,
Juan Atkins,
Spandau Ballet,
Black Sheep,
Nils Olav,
Television Personalities,
Johnny Clarke,
Camron Feat. Jay Z And Juelz,
Hasil Adkins,
Joey Negro,
Gil Scott-Heron & Brian Jackson,
Joyce Sims,
Tropical Tobacco,
China Crisis,
L. Decosne,
Urselle,
Mission of Burma,
Liaisons Dangereuses,
MC5,
Yaz,
Joe Finger,
Kerri Chandler,
The Peanut Butter Conspiracy,
Underground Resistance,
Wally Richardson,
Avey Tare & Kría Brekkan,
Saccharine Trust,
Sun Ra Arkestra,
Funky Four + One,
Ajijia Myrayebe,
Scan 7,
Pierre Henry,
Eli Mardock,
Lindisfarne,
It's A Beautiful Day,
Siglo XX,
The Music Machine,
Skriet,
The Dave Clark Five,
Interpol,
Lonnie Liston Smith,
Parry Music,
Rotary Connection,
The American Breed,
Ice-T,
The Wake, The Wake, The Wake, The Wake.
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.