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 Norway and from Taipei.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Woodstock 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Zeros to the jazz kids.
I played it at the Spitz.
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 Boz Scaggs. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Saccharine Trust 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 '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Godley & Creme,
Motorama,
Radio Birdman,
Jesper Dahlbäck,
Kauko Röyhkä ja Narttu,
Sound Behaviour,
Graham Central Station,
John Holt,
Deepchord,
Frankie Knuckles,
8 Eyed Spy,
Gary Puckett & The Union Gap,
Alison Limerick,
Depeche Mode,
The Moleskins,
Moebius,
DJ Style,
Cabaret Voltaire,
Rhythm & Sound,
Andrew Ashong & Theo Parrish,
Suburban Knight,
Cal Tjader,
The Move,
Nirvana,
Q and Not U,
Rahsaan Roland Kirk,
The Mighty Diamonds,
Goldenarms,
Ten City,
Vaughan Mason & Crew,
Marmalade,
Sällskapet,
Harpers Bizarre,
Ash Ra Tempel,
Joensuu 1685,
Siglo XX,
The Black Dice,
Excepter,
Andrew Hill,
Lower 48,
the Germs,
Glenn Branca,
Clear Light,
Theoretical Girls,
Cameo,
The Blackbyrds,
In Retrospect,
Scion,
Can,
Yazoo,
The Walker Brothers,
Gerry Rafferty,
Quadrant,
These Immortal Souls,
Pole,
The Techniques,
Jesper Dahlback,
Mad Mike,
Rufus Thomas,
The Electric Prunes,
Notorious Big And Bone Thugs,
Cymande,
Barry Ungar,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.