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 Malta and from Bremen.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Lou Reed to the rock kids.
I played it at the Roxy.
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 Surgeon. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Rakim,
Radiopuhelimet,
Harry Pussy,
Drexciya,
The Blues Magoos,
Magma,
Boredoms,
Lizzy Mercier Descloux,
Groovy Waters,
The Fall,
Matthew Halsall,
Youth Brigade,
Barry Ungar,
Trumans Water,
Pussy Galore,
Sam Rivers,
Deadbeat,
Au Pairs,
H. Thieme,
Peter and Kerry,
Livin' Joy,
Donny Hathaway,
Massinfluence,
Laurel Aitken,
The Durutti Column,
Deepchord,
Sun City Girls,
The Moleskins,
Thinking Fellers Union Local 282,
Country Teasers,
Royal Trux,
Shuggie Otis,
Television Personalities,
Jacques Brel,
Peter Gordon & Love of Life Orchestra,
Suicide,
The Monks,
Babytalk,
Blake Baxter,
The Pop Group,
Pole,
The Fire Engines,
Teenage Jesus and the Jerks,
The Pretty Things,
Albert Ayler,
Erasure,
Sonny Sharrock,
Rahsaan Roland Kirk,
Stetsasonic,
The Fuzztones,
The Slits,
The Cosmic Jokers,
The Selecter,
James Chance & The Contortions,
Peter & Gordon,
Orchestral Manoeuvres in the Dark,
The Shadows of Knight,
The Flesh Eaters,
Moby Grape,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.