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 Finland and from Manchester.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Woodstock 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 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 Metal Thangz 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 The Barracudas. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Duran Duran,
Youth Brigade,
Black Flag,
The Victims,
MC5,
B.T. Express,
Masters at Work,
Intrusion,
Quando Quango,
Don Cherry,
Anthony Braxton,
Soul II Soul,
A Flock of Seagulls,
Joensuu 1685,
Judy Mowatt,
Crispian St. Peters,
Boogie Down Productions,
Cabaret Voltaire,
Cybotron,
Joe Finger,
Albert Ayler,
Flipper,
Sixth Finger,
Cecil Taylor,
Roxy Music,
Little Man,
Black Bananas,
DeepChord presents Echospace,
Buzzcocks,
Brand Nubian,
Josef K,
Connie Case,
The J.B.'s,
Scott Walker,
Art Ensemble Of Chicago,
De La Soul & Jungle Brothers,
Grey Daturas,
The Last Poets,
Captain Beefheart & His Magic Band,
Electric Prunes,
La Düsseldorf,
Section 25,
The Gladiators,
Dr. Dre and Snoop Doggy Dog,
The Mummies,
Pete Rock & C.L. Smooth,
Model 500,
Peter Gordon & Love of Life Orchestra,
The Wake,
Henry Cow,
The Men They Couldn't Hang,
Make Up,
Siglo XX,
8 Eyed Spy,
Technova,
The Knickerbockers,
Stetsasonic,
Deakin,
June Days,
Mars,
Bobby Sherman,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.