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 Belarus and from London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Bremen and Accra.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Blackbyrds to the techno kids.
I played it at Cafe Wha.
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 Black Moon. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Nas,
the Fania All-Stars,
Lou Reed,
Althea and Donna,
Cecil Taylor,
The New Christs,
Captain Beefheart & His Magic Band,
Neil Young & Crazy Horse,
Parry Music,
Main Source,
Todd Rundgren,
Howard Jones,
The Grass Roots,
Marine Girls,
Roy Ayers,
The Velvet Underground,
Japan,
Amon Düül,
Robert Wyatt,
Kenny Larkin,
Dawn Penn,
The United States of America,
The Index,
Lindisfarne,
Delon & Dalcan,
Audionom,
Yaz,
Moebius,
The Saints,
The Move,
K-Klass,
Avey Tare's Slasher Flicks,
Kaleidoscope,
Yusef Lateef,
Urselle,
Tommy Roe,
The Raincoats,
The Last Poets,
New Order,
The Buckinghams,
Man Parrish,
Minor Threat,
Index,
The Tremeloes,
Thompson Twins,
Siouxsie and the Banshees,
Jawbox,
Erasure,
Suicide,
Drive Like Jehu,
Darondo,
Rotary Connection,
Easy Going,
Youth Brigade,
Young Marble Giants,
Throbbing Gristle,
Au Pairs,
Minnie Riperton,
Justin Hinds & The Dominoes,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.