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 Nigeria and from Tehran.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Taipei 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Grandmaster Flash and the Furious Five to the grunge 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 Lou Reed. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The Count Five,
Kings Of Tomorrow,
The Five Americans,
Warren Ellis,
D'Angelo,
Negative Approach,
Sällskapet,
Brothers Johnson,
Livin' Joy,
the Human League,
Hot Snakes,
Albert Ayler,
Tropical Tobacco,
London Community Gospel Choir,
John Coltrane,
Bobby Hutcherson,
Average White Band,
Chrome,
Los Fastidios,
Glenn Branca,
Sunsets and Hearts,
Rhythim Is Rhythim,
Lebanon Hanover,
Oneida,
Marc Almond,
Sex Pistols,
Q65,
Neu!,
Yusef Lateef,
Basic Channel,
Gil Scott-Heron & Brian Jackson,
8 Eyed Spy,
Flash Fearless,
Soul II Soul,
ABC,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Alice Coltrane,
China Crisis,
Throbbing Gristle,
John Foxx,
Larry & the Blue Notes,
June Days,
Pierre Henry,
Drexciya,
Grandmaster Flash and the Furious Five,
Bob Dylan,
Grandmaster Flash,
Essential Logic,
Ten City,
Tommy Roe,
Eyeless In Gaza,
Nick Fraelich,
The Music Machine,
Notorious BIG live in Amsterdam,
Agent Orange,
Sun Ra,
Jawbox,
Eric Dolphy,
Cal Tjader,
The Pretty Things,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.