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 Dominican Republic and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Johannesburg.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Q and Not U 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 Kayak. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Popol Vuh 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Pagans,
The Remains,
Sight & Sound,
Heavy D & The Boyz,
Heaven 17,
Radio Birdman,
London Community Gospel Choir,
Saccharine Trust,
Siglo XX,
Kango’s Stein Massive,
Sarah Menescal,
Infiniti,
Dead Boys,
Marcia Griffiths,
The Slackers,
This Heat,
Eric Dolphy,
LL Cool J,
The Sonics,
The Gories,
Alison Limerick,
Brothers Johnson,
The New Christs,
Todd Terry,
Mo-Dettes,
Sad Lovers and Giants,
The Doors,
Minny Pops,
Gang of Four,
Ultravox,
Deadbeat,
Bush Tetras,
Peter Gordon & Love of Life Orchestra,
Rhythm & Sound,
Darondo,
Zero Boys,
Black Moon,
Black Flag,
The Smoke,
Bootsy Collins,
Hardrive,
The Beau Brummels,
Oblivians,
Aural Exciters,
Althea and Donna,
Stetsasonic,
Zapp,
Marvin Gaye,
Sunsets and Hearts,
Siouxsie and the Banshees,
Wasted Youth,
Reuben Wilson,
Rod Modell,
The Trojans,
the Soft Cell,
Dorothy Ashby,
CMW,
Agitation Free,
Lower 48, Lower 48, Lower 48, Lower 48.
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.