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 Comoros and from Mexico City.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Half Japanese to the disco 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 Ohio Players. All the underground hits.
All Pulsallama 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Rapeman,
Jimmy McGriff,
The Doobie Brothers,
Slick Rick,
Clear Light,
Johnny Osbourne,
Joensuu 1685,
Dennis Brown,
Al Stewart,
The Men They Couldn't Hang,
Colin Newman,
Sam Rivers,
Kauko Röyhkä ja Narttu,
Essential Logic,
Das Ding,
Justin Hinds & The Dominoes,
The Happenings,
the Normal,
Parry Music,
Unwound,
Mantronix,
Delon & Dalcan,
Monolake,
The Dirtbombs,
Jacob Miller,
The Fire Engines,
Ponytail,
The Dave Clark Five,
Joe Finger,
Audionom,
Yazoo,
Fluxion,
Public Image Ltd.,
Sun City Girls,
The Cure,
Unrelated Segments,
Grandmaster Flash,
Brick,
Notorious BIG live in Amsterdam,
Stereo Dub,
Public Enemy,
The Knickerbockers,
Neu!,
Nils Olav,
Khruangbin,
The Human League,
Thee Headcoats,
Ronnie Foster,
Ossler,
The Standells,
It's A Beautiful Day,
Scientists,
Ralphi Rosario,
Matthew Halsall,
Drexciya,
The Martian,
Bang On A Can,
Royal Trux,
Sight & Sound,
David McCallum,
F. McDonald,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.