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 Liberia and from Winnipeg.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Seoul and Tehran.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Beasts of Bourbon to the electroclash kids.
I played it at the Crocodile.
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 Scott Walker. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Eli Mardock,
Curtis Mayfield,
Das Ding,
Avey Tare,
The American Breed,
The Pop Group,
Todd Terry,
Sound Behaviour,
New Age Steppers,
Alice Coltrane,
The Dead C,
X-101,
Guru Guru,
Sandy B,
Theoretical Girls,
Rites of Spring,
Heavy D & The Boyz,
Khruangbin,
Suburban Knight,
Magma,
Marmalade,
The Invisible,
The Velvet Underground,
Pole,
Eurythmics,
The Electric Prunes,
Black Sheep,
F. McDonald,
Cabaret Voltaire,
Scratch Acid,
Andrew Hill,
Public Image Ltd.,
Reagan Youth,
Robert Wyatt,
Icehouse,
Lou Christie,
John Holt,
Lafayette Afro Rock Band,
The United States of America,
Grandmaster Flash,
Minor Threat,
K-Klass,
Television,
the Association,
Severed Heads,
Pierre Henry,
Skriet,
John Lydon,
Jesper Dahlback,
OOIOO,
Cluster,
The Martian,
Peter & Gordon,
Moebius,
Deutsch Amerikanische Freundschaft,
Grandmaster Flash and the Furious Five,
Mars,
the Human League,
Rapeman,
Glenn Branca,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.