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 Oman and from Tokyo.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Paris 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 chamberlin 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 La Düsseldorf to the jazz kids.
I played it at the Troubador.
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 Magazine. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Gang Gang Dance,
The Durutti Column,
This Heat,
Outsiders,
Reuben Wilson,
Audionom,
Slave,
Rahsaan Roland Kirk,
Index,
Tropical Tobacco,
Intrusion,
Kango’s Stein Massive,
The Vogues,
David Axelrod,
Lou Christie,
Youth Brigade,
B.T. Express,
The Names,
Tubeway Army,
The United States of America,
U.S. Maple,
Arab on Radar,
Warren Ellis,
In Retrospect,
Red Lorry Yellow Lorry,
Crispian St. Peters,
Bad Manners,
Radiohead,
Teenage Jesus and the Jerks,
Mars,
Eden Ahbez,
Average White Band,
Agitation Free,
Masters at Work,
Pete Rock & C.L. Smooth,
Peter & Gordon,
The Young Rascals,
Rowland S Howard / Lydia Lunch,
Be Bop Deluxe,
PIL,
AZ,
Parry Music,
Bobby Womack,
CMW,
La Düsseldorf,
The Electric Prunes,
The Fugs,
The Birthday Party,
the Association,
The Motions,
DJ Style,
Niagra,
Pylon,
Suicide,
H. Thieme,
Camouflage,
Susan Cadogan,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.