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 Iran and from Columbus.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Milan and Mexico City.
I'm losing my edge to the art-school Paris 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 808 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 Aaron Thompson to the crunk kids.
I played it at the 40 Watt.
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 Max Romeo. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Henry Cow 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Thee Headcoats,
Robert Wyatt,
The Music Machine,
Lou Reed,
Accadde A,
The Fuzztones,
the Association,
Mantronix,
Rapeman,
Roxy Music,
Loose Ends,
Curtis Mayfield,
Man Eating Sloth,
Brothers Johnson,
Y Pants,
Radiohead,
Sad Lovers and Giants,
Fad Gadget,
The Blues Magoos,
Freddie Wadling,
Grauzone,
Boredoms,
E-Dancer,
Lonnie Liston Smith,
Fugazi,
Drive Like Jehu,
Fatback Band,
The Evens,
The Smoke,
the Soft Cell,
Steve Hackett,
Don Cherry,
Surgeon,
Piero Umiliani,
Kings Of Tomorrow,
Marc Almond,
Lucky Dragons,
Pete Rock & C.L. Smooth,
Stereo Dub,
Kauko Röyhkä ja Narttu,
Eurythmics,
Ice-T,
Sparks,
Jacob Miller,
Tubeway Army,
Ultimate Spinach,
Roxette,
AZ,
Adolescents,
Jeff Lynne,
Fat Boys,
Con Funk Shun,
Gang of Four,
Urselle,
Bobby Womack,
Ajijia Myrayebe,
Leonard Cohen,
OOIOO,
Patti Smith,
Dave Gahan,
Moebius, Moebius, Moebius, Moebius.
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.