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 Zambia and from Copenhagen.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Stockholm 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 arpeggiator 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 Subhumans to the grime kids.
I played it at the Crocodile.
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 Dorothy Ashby. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Manfred Mann's Earth Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Oppenheimer Analysis,
Dark Day,
Eric Dolphy,
Supertramp,
Black Sheep,
The Cure,
Crispian St. Peters,
Henry Cow,
Faust,
Archie Shepp,
Susan Cadogan,
Charles Mingus,
Youth Brigade,
Half Japanese,
The Star Department,
The Red Krayola,
Blancmange,
Robert Görl,
Lower 48,
Japan,
Kings Of Tomorrow,
48th St. Collective,
Black Bananas,
Avey Tare & Kría Brekkan,
Jacob Miller,
Swans,
Monks,
The West Coast Pop Art Experimental Band,
Cheater Slicks,
Scion,
DJ Style,
Agent Orange,
DeepChord presents Echospace,
Barrington Levy,
Peter & Gordon,
The Slackers,
Gil Scott-Heron & Brian Jackson,
Circle Jerks,
Cybotron,
The Smoke,
U.S. Maple,
Neu!,
The Divine Comedy,
Black Pus,
Mary Jane Girls,
Bill Wells,
Marc Almond,
The Fortunes,
The Misunderstood,
Slave,
UT,
Peter and Kerry,
The Victims,
The Blues Magoos,
Letta Mbulu,
Sight & Sound,
Tom Boy,
Rufus Thomas,
Al Stewart,
Derrick May,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.