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 Ireland and from Mexico City.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Tokyo 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 theremin 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 Eric Copeland to the punk 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 Johnny Osbourne. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Robert Hood 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Human League record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Sixth Finger,
Soft Machine,
Yaz,
Aloha Tigers,
Harmonia,
Dead Boys,
Oneida,
Sun City Girls,
Al Stewart,
Thinking Fellers Union Local 282,
Nik Kershaw,
OOIOO,
Robert Wyatt,
The Moody Blues,
Josef K,
Animal Collective,
Albert Ayler,
Leonard Cohen,
Prince Buster,
Roxy Music,
Bush Tetras,
Fort Wilson Riot,
The Fortunes,
Stereo Dub,
Lightning Bolt,
Gang Green,
Severed Heads,
June of 44,
The Zeros,
Lungfish,
Delta 5,
Scientists,
Kool Moe Dee,
The Young Rascals,
8 Eyed Spy,
The Standells,
The Happenings,
Toni Rubio,
Neu!,
Stetsasonic,
T.S.O.L.,
Johnny Clarke,
Roger Hodgson,
Bang On A Can,
The Monochrome Set,
The Seeds,
Bronski Beat,
Franke,
Maurizio,
Black Flag,
a-ha,
X-Ray Spex,
Kauko Röyhkä ja Narttu,
Rapeman,
Don Cherry,
B.T. Express,
U.S. Maple,
Gong,
Ultramagnetic MC's,
These Immortal Souls,
Pierre Henry,
Spandau Ballet,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.