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 Slovenia and from Mexico City.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school London 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 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 Black Moon to the jazz kids.
I played it at the Spitz.
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 Crime. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
The Toasters,
Hardrive,
Kerrie Biddell,
Echo & the Bunnymen,
Sällskapet,
Amon Düül,
The Busters,
R.M.O.,
Albert Ayler,
Unrelated Segments,
Depeche Mode,
Drive Like Jehu,
Isaac Hayes,
Flipper,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Y Pants,
Pylon,
The Searchers,
Warsaw,
Dawn Penn,
Notorious Big And Bone Thugs,
Al Stewart,
Zero Boys,
Andrew Ashong & Theo Parrish,
Intrusion,
Kenny Larkin,
Eve St. Jones,
Glambeats Corp.,
Archie Shepp,
Carl Craig,
Arcadia,
Neu!,
Mary Jane Girls,
Minor Threat,
Easy Going,
The Angels of Light,
Matthew Halsall,
Roy Ayers,
The Smoke,
The American Breed,
Hashim,
The Moleskins,
Stereo Dub,
Quantec,
Vladislav Delay,
The Modern Lovers,
Fifty Foot Hose,
Ash Ra Tempel,
Fluxion,
Con Funk Shun,
Sunsets and Hearts,
Angels of Light & Akron/Family,
Sex Pistols,
Super Lover Cee & Casanova Rud,
Bobbi Humphrey,
Sandy B,
Bad Manners,
Faraquet,
The Remains,
Louis and Bebe Barron,
The Trojans,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.