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 Kenya and from Toronto.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Robert Palmer 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 China Crisis to the techno kids.
I played it at the Crocodile.
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 Quadrant. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Ossler,
Archie Shepp,
New Order,
Au Pairs,
Swell Maps,
Black Bananas,
The Detroit Cobras,
The Move,
Bobby Sherman,
Stockholm Monsters,
The Evens,
John Lydon,
Pete Rock & C.L. Smooth,
the Swans,
Boogie Down Productions,
Surgeon,
Echo & the Bunnymen,
Al Stewart,
Kerrie Biddell,
The New Christs,
De La Soul & Jungle Brothers,
Fat Boys,
June Days,
Robert Hood,
Henry Cow,
Arcadia,
Crash Course in Science,
Visage,
Teenage Jesus and the Jerks,
The Men They Couldn't Hang,
Pet Shop Boys,
Marc Romboy vs. Booka Shade,
Sonny Sharrock,
Reagan Youth,
Sunsets and Hearts,
Joe Finger,
Livin' Joy,
Rufus Thomas,
Sun Ra Arkestra,
Ituana,
Monks,
Traffic Nightmare,
Idris Muhammad,
Oppenheimer Analysis,
One Last Wish,
Bill Near,
the Soft Cell,
the Germs,
London Community Gospel Choir,
The Vogues,
In Retrospect,
Grey Daturas,
Fela Kuti,
UT,
Parry Music,
The Peanut Butter Conspiracy,
Ultra Naté,
Minny Pops,
Skaos,
Bang On A Can,
The Doobie Brothers,
R.M.O.,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.