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 Gambia and from Columbus.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bologna and Tehran.
I'm losing my edge to the art-school Madrid 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 Ubu practice in a loft in Cleveland.
I was working on the snare 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 Eli Mardock to the jazz kids.
I played it at CBGB's.
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 Bob Dylan. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Soft Machine,
Man Parrish,
Andrew Ashong & Theo Parrish,
The Walker Brothers,
The Zeros,
Loose Ends,
Ten City,
Oneida,
Bobby Hutcherson,
Clear Light,
Blancmange,
Adolescents,
Dennis Brown,
Sad Lovers and Giants,
Robert Hood,
Scion,
Faraquet,
Red Lorry Yellow Lorry,
Matthew Halsall,
Sexual Harrassment,
DJ Sneak,
Barbara Tucker,
Man Eating Sloth,
Smog,
The Cramps,
The J.B.'s,
Au Pairs,
The Sisters of Mercy,
The Gladiators,
Crispy Ambulance,
Jacques Brel,
CMW,
Barry Ungar,
Avey Tare's Slasher Flicks,
David Axelrod,
Joey Negro,
UT,
Franke,
Shoche,
Lou Reed & Metallica,
Youth Brigade,
Arab on Radar,
The Human League,
John Cale,
The Skatalites,
48th St. Collective,
Mars,
8 Eyed Spy,
Brick,
Babytalk,
The Royal Family And The Poor,
Negative Approach,
Gang of Four,
Joyce Sims,
Reagan Youth,
Chrome,
The Flesh Eaters,
The Slackers,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.