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 Laos and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Jakarta 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 marimba 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 Walker Brothers to the dance kids.
I played it at Trash.
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 Red Lorry Yellow Lorry. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Nik Kershaw,
The Music Machine,
The Sonics,
The Barracudas,
Q and Not U,
Kings Of Tomorrow,
Roy Ayers,
Popol Vuh,
The Golliwogs,
In Retrospect,
Ronnie Foster,
Throbbing Gristle,
Gang Green,
Scrapy,
The Stooges,
Liaisons Dangereuses,
The Index,
This Heat,
PIL,
Ajijia Myrayebe,
Roy Ayers Ubiquity,
Ralphi Rosario,
Accadde A,
New York Dolls,
The Slits,
Anakelly,
Peter and Kerry,
Pagans,
The Gap Band,
Gong,
Steve Hackett,
Sandy B,
Henry Cow,
The Fire Engines,
Neu!,
Toni Rubio,
Unrelated Segments,
Altered Images,
The Dave Clark Five,
Archie Shepp,
Depeche Mode,
The Seeds,
T.S.O.L.,
Mo-Dettes,
Electric Prunes,
Donny Hathaway,
a-ha,
The Pretty Things,
Masters at Work,
Television Personalities,
The Sisters of Mercy,
Sonny Sharrock,
Kas Product,
Ultramagnetic MC's,
R.M.O.,
The Fall,
Amon Düül II,
Ten City,
Ludus,
Lebanon Hanover,
Prince Buster,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.