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 Palau and from New York.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Portland 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Evens to the grunge kids.
I played it at Trash.
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 The Zeros. All the underground hits.
All Visionaries,LMNO, T- Love & Iriscience tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Sparks,
The Knickerbockers,
Tim Buckley,
Glenn Branca,
EPMD,
John Coltrane,
Teenage Jesus and the Jerks,
Whodini,
Lou Reed,
Ten City,
Cabaret Voltaire,
Kerri Chandler,
X-102,
Black Moon,
John Holt,
Sonic Youth,
Mo-Dettes,
Matthew Halsall,
Eli Mardock,
A Flock of Seagulls,
Ice-T,
Pierre Henry,
Bill Wells,
Stockholm Monsters,
Public Enemy,
The Trojans,
The Names,
The Slits,
Derrick May,
Kevin Saunderson,
the Bar-Kays,
Motorama,
Scan 7,
Zapp,
Lou Reed & John Cale,
Zero Boys,
Buzzcocks,
Sexual Harrassment,
Andrew Ashong & Theo Parrish,
Gong,
Alison Limerick,
Lou Christie,
Altered Images,
DeepChord presents Echospace,
Gastr Del Sol,
Kerrie Biddell,
Lower 48,
The Peanut Butter Conspiracy,
Depeche Mode,
Theoretical Girls,
Scott Walker,
Scratch Acid,
David Axelrod,
Easy Going,
Arcadia,
Newcleus,
Sunsets and Hearts,
Fela Kuti,
Bizarre Inc.,
Throbbing Gristle,
The Neon Judgement,
Stereo Dub,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.