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 Estonia and from Toronto.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 The Real Kids to the dance 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 Lightning Bolt. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal dance 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 a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
New York Dolls,
The Gap Band,
Traffic Nightmare,
Soft Machine,
Quadrant,
Stereo Dub,
Peter & Gordon,
Nik Kershaw,
Larry & the Blue Notes,
Harmonia,
The Motions,
Janne Schatter,
Teenage Jesus and the Jerks,
Lizzy Mercier Descloux,
Joey Negro,
Manfred Mann's Earth Band,
The Dirtbombs,
Sound Behaviour,
Gian Franco Pienzio,
Pantytec,
Animal Collective,
Little Man,
X-101,
Yazoo,
Mary Jane Girls,
Jacques Brel,
Glenn Branca,
Drexciya,
Isaac Hayes,
Bobby Sherman,
H. Thieme,
Negative Approach,
Cymande,
Stetsasonic,
Wally Richardson,
Harry Pussy,
The Evens,
Lou Reed & John Cale,
The Happenings,
Dorothy Ashby,
Arthur Verocai,
Maleditus Sound,
Metal Thangz,
Pagans,
Moss Icon,
Chris & Cosey,
Make Up,
Lou Christie,
Arab on Radar,
Siouxsie and the Banshees,
Robert Hood,
The Techniques,
Andrew Hill,
The Dave Clark Five,
June of 44,
Boredoms,
The Zeros,
Piero Umiliani,
Sonny Sharrock,
John Foxx,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.