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 Vanuatu and from Philadelphia.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Lakeside to the dance kids.
I played it at the Astoria.
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 Robert Görl. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
OOIOO,
The Cramps,
Art Ensemble Of Chicago,
Bob Dylan,
The Music Machine,
Gerry Rafferty,
The United States of America,
Gil Scott Heron,
Livin' Joy,
Amon Düül II,
Metal Thangz,
Anthony Braxton,
Guru Guru,
The Invisible,
Franke,
Graham Central Station,
Jawbox,
Lalann,
The Fugs,
Kurtis Blow,
the Soft Cell,
Major Organ And The Adding Machine,
Qualms,
Royal Trux,
Janne Schatter,
Ludus,
Slick Rick,
Josef K,
Tres Demented,
Peter & Gordon,
Prince Buster,
Procol Harum,
The Stooges,
Crash Course in Science,
The Smiths,
Bill Near,
Jerry Gold Smith,
Idris Muhammad,
Visionaries,LMNO, T- Love & Iriscience,
Susan Cadogan,
Rakim,
Peter Gordon & Love of Life Orchestra,
cv313,
Sam Rivers,
Organ,
Swell Maps,
Massinfluence,
Ten City,
London Community Gospel Choir,
Scott Walker + Sunn O))),
Gang Gang Dance,
Curtis Mayfield,
Grey Daturas,
Masters at Work,
Ice-T,
Subhumans,
Liaisons Dangereuses,
Hardrive,
Warsaw,
Matthew Halsall,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.