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 Paraguay and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Parry Music to the jazz 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 Jeff Mills. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Magazine 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 '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
H. Thieme,
The Move,
The Fortunes,
Eve St. Jones,
Strawberry Alarm Clock,
Adolescents,
the Normal,
The Moleskins,
Skaos,
Bill Near,
Oppenheimer Analysis,
Animal Collective,
Infiniti,
Jacques Brel,
Echo & the Bunnymen,
Half Japanese,
Bauhaus,
Morten Harket,
Can,
Eyeless In Gaza,
A Flock of Seagulls,
Avey Tare & Kría Brekkan,
Lou Reed & Metallica,
Mandrill,
Todd Terry,
Clear Light,
Steve Hackett,
Amon Düül,
Basic Channel,
Crash Course in Science,
Absolute Body Control,
Bobby Womack,
Lower 48,
Drexciya,
Gregory Isaacs,
Ajijia Myrayebe,
Dark Day,
The American Breed,
Rufus Thomas,
Rites of Spring,
Inner City,
Cluster,
Kauko Röyhkä ja Narttu,
Black Pus,
Bobby Byrd,
World's Most,
The Count Five,
Howard Jones,
the Swans,
Heavy D & The Boyz,
Mission of Burma,
Albert Ayler,
The Mighty Diamonds,
Supertramp,
Thinking Fellers Union Local 282,
Roy Ayers Ubiquity,
Boogie Down Productions,
Crispy Ambulance,
Henry Cow,
Metal Thangz,
Buzzcocks,
James White and The Blacks,
Visage,
Hashim, Hashim, Hashim, Hashim.
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.