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 Brazil and from Beijing.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 La Düsseldorf to the rap 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 Echospace. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Marine Girls 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mission of Burma record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
June Days,
Dorothy Ashby,
The Misunderstood,
Cybotron,
The Offenders,
Bronski Beat,
Donald Byrd,
Pharaoh Sanders and the Fire Engines,
Albert Ayler,
Amon Düül,
the Swans,
T.S.O.L.,
Minutemen,
Ultimate Spinach,
Public Enemy,
Amon Düül II,
Jeff Lynne,
Bauhaus,
Liaisons Dangereuses,
Kool G Rap & DJ Polo,
This Heat,
Cecil Taylor,
Niagra,
The Slackers,
Gong,
Soft Machine,
Hashim,
The Real Kids,
Black Moon,
R.M.O.,
Dark Day,
The Count Five,
The Gun Club,
Strawberry Alarm Clock,
Fluxion,
Vaughan Mason & Crew,
Sound Behaviour,
Pussy Galore,
The Motions,
Parry Music,
Ultramagnetic MC's,
Goldenarms,
Aural Exciters,
Barry Ungar,
Manfred Mann's Earth Band,
Henry Cow,
Visionaries,LMNO, T- Love & Iriscience,
John Lydon,
Pantytec,
Blake Baxter,
Eyeless In Gaza,
Marcia Griffiths,
Porter Ricks,
Rotary Connection,
Pagans,
Selector Dub Narcotic,
Letta Mbulu,
CMW,
Ten City,
Funky Four + One,
Ludus,
Oblivians, Oblivians, Oblivians, Oblivians.
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.