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 Armenia and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Bremen and Copenhagen.
I'm losing my edge to the art-school Manchester 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 guitar 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 The Grass Roots to the grime 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 Clear Light. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Wally Richardson 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your marimba and bought an organ.
I hear that you and your band have sold your organ and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Trojans,
Godley & Creme,
Black Bananas,
Robert Görl,
Section 25,
Swans,
Radiopuhelimet,
Electric Prunes,
The Remains,
Johnny Osbourne,
Toni Rubio,
Flipper,
Lyres,
The Smiths,
Easy Going,
Avey Tare's Slasher Flicks,
Outsiders,
Johnny Clarke,
Eli Mardock,
Kango’s Stein Massive,
Louis and Bebe Barron,
UT,
Ronnie Foster,
Man Eating Sloth,
Jesper Dahlbäck,
Rhythim Is Rhythim,
Bizarre Inc.,
Vaughan Mason & Crew,
Lungfish,
Gabor Szabo,
Davy DMX,
Sight & Sound,
Maleditus Sound,
Rapeman,
Nils Olav,
Ultimate Spinach,
The Fire Engines,
Isaac Hayes,
Angels of Light & Akron/Family,
Pharaoh Sanders and the Fire Engines,
Avey Tare & Kría Brekkan,
Soul II Soul,
Orchestral Manoeuvres in the Dark,
Intrusion,
The Associates,
Fad Gadget,
Theoretical Girls,
Liaisons Dangereuses,
Andrew Hill,
Yellowson,
David Axelrod,
The Beau Brummels,
Little Man,
Echo & the Bunnymen,
The Invisible,
Bluetip,
Alison Limerick,
The Raincoats,
Jimmy McGriff,
Sun City Girls,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.