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 Maldives and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Lagos 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 guitar 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 Jacob Miller 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 The Mighty Diamonds. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every The J.B.'s 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Peter and Kerry,
London Community Gospel Choir,
Joe Smooth,
Faust,
The Evens,
Bizarre Inc.,
Johnny Osbourne,
Dr. Dre and Snoop Doggy Dog,
Radio Birdman,
Half Japanese,
Popol Vuh,
Yellowson,
The Sound,
Ossler,
Spandau Ballet,
Letta Mbulu,
Eden Ahbez,
Jeff Lynne,
Black Pus,
Can,
Motorama,
Reagan Youth,
Eurythmics,
Angry Samoans,
Colin Newman,
Lightning Bolt,
Visionaries,LMNO, T- Love & Iriscience,
Howard Jones,
John Coltrane,
MC5,
Gang Starr,
Model 500,
Cabaret Voltaire,
The Motions,
Lucky Dragons,
Gregory Isaacs,
Gerry Rafferty,
Henry Cow,
X-101,
Mo-Dettes,
Vaughan Mason & Crew,
Make Up,
New Order,
Oppenheimer Analysis,
Stetsasonic,
Bush Tetras,
The Last Poets,
Dave Gahan,
Ultravox,
The Monochrome Set,
Ornette Coleman,
Tommy Roe,
The Index,
48th St. Collective,
Vainqueur,
Althea and Donna,
The Barracudas,
The Electric Prunes,
Robert Hood,
Chrome,
DNA,
Soft Machine,
Josef K,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.