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 Denmark and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1971.
I'm losing my edge.
To all the kids in New York and Bologna.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator 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 Jesus and Mary Chain to the disco kids.
I played it at the Roxy.
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 Brick. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Ralphi Rosario,
Franke,
Lou Reed & Metallica,
Ituana,
Outsiders,
Make Up,
The Vogues,
Crash Course in Science,
The Wake,
The Mummies,
Minnie Riperton,
Scientists,
Animal Collective,
Bootsy Collins,
Intrusion,
Can,
The Velvet Underground,
Drexciya,
Junior Murvin,
Kerrie Biddell,
Colin Newman,
Eddi Front,
Q65,
Khruangbin,
Piero Umiliani,
ABC,
Zapp,
Trumans Water,
Sällskapet,
The Doors,
Severed Heads,
Mad Mike,
X-Ray Spex,
Selector Dub Narcotic,
Symarip,
Monolake,
Althea and Donna,
The Remains,
Sight & Sound,
Stockholm Monsters,
Arcadia,
Albert Ayler,
Justin Hinds & The Dominoes,
Thinking Fellers Union Local 282,
Pussy Galore,
Lyres,
Suburban Knight,
Rod Modell,
The Searchers,
Cecil Taylor,
Teenage Jesus and the Jerks,
The Fall,
Swans,
The Young Rascals,
The Standells,
The Fire Engines,
The Peanut Butter Conspiracy,
Deakin,
Icehouse,
Alton Ellis,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.