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 Djibouti and from Tokyo.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Manila and Salvador.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Sugar Minott to the rock 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 Juan Atkins. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
T. Rex,
Derrick Morgan,
Curtis Mayfield,
Dorothy Ashby,
The Misunderstood,
John Lydon,
Television Personalities,
Rekid,
Bootsy Collins,
Hashim,
Hot Snakes,
Brand Nubian,
Selector Dub Narcotic,
Kool Moe Dee,
Black Sheep,
Notorious BIG live in Amsterdam,
Super Lover Cee & Casanova Rud,
Whodini,
Masters at Work,
Scan 7,
Excepter,
John Holt,
Cecil Taylor,
Sound Behaviour,
Pylon,
Alphaville,
Yazoo,
Ituana,
The Monochrome Set,
Circle Jerks,
Richard Hell and the Voidoids,
Outsiders,
Lower 48,
FM Einheit,
Arthur Verocai,
Dead Boys,
Rufus Thomas,
Agent Orange,
Smog,
The Grass Roots,
Robert Görl,
Susan Cadogan,
Hoover,
Zapp,
Robert Wyatt,
Mary Jane Girls,
Idris Muhammad,
Ash Ra Tempel,
X-Ray Spex,
Basic Channel,
Sun City Girls,
Talk Talk,
Liliput,
Inner City,
Peter and Kerry,
Cameo,
Rotary Connection,
Sexual Harrassment,
Man Parrish,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.