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 Libya and from Beijing.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Seoul 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 1976 at the first Wire practice in a loft in Watford.
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 Dennis Brown to the funk 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 The J.B.'s. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
The West Coast Pop Art Experimental Band,
Rod Modell,
Jacques Brel,
Kevin Saunderson,
Juan Atkins,
Beasts of Bourbon,
The Golliwogs,
Babytalk,
Supertramp,
Barry Ungar,
Derrick Morgan,
Delon & Dalcan,
Sticky Fingaz feat. Raekwon,
Wasted Youth,
Archie Shepp,
Henry Cow,
Colin Newman,
Howard Jones,
La Düsseldorf,
The Wake,
Sun Ra Arkestra,
Lou Reed & Metallica,
World's Most,
The Jesus and Mary Chain,
Tomorrow,
Cluster,
Nick Fraelich,
Boz Scaggs,
Eden Ahbez,
The Residents,
Soft Machine,
Marine Girls,
Jerry Gold Smith,
Silicon Teens,
The Cosmic Jokers,
The Angels of Light,
Magazine,
DJ Sneak,
Scan 7,
Nik Kershaw,
Sun City Girls,
Excepter,
Sugar Minott,
Bill Near,
Visage,
Red Lorry Yellow Lorry,
Throbbing Gristle,
Blancmange,
Jeff Mills,
Major Organ And The Adding Machine,
Fat Boys,
Lebanon Hanover,
OOIOO,
Röyhkä ja Rättö ja Lehtisalo,
Banda Bassotti,
The Standells,
David Bowie,
The Count Five,
Porter Ricks,
Mantronix,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.