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 Cuba and from Sao Paulo.
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 1968 to 1975.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Lyon 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Zapp to the disco 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 Black Bananas. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Wake 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?
Clear Light,
Althea and Donna,
Peter and Kerry,
Sonny Sharrock,
Television,
Tim Buckley,
Underground Resistance,
The West Coast Pop Art Experimental Band,
David Bowie,
Groovy Waters,
Peter & Gordon,
DeepChord presents Echospace,
D'Angelo,
Ultra Naté,
Bad Manners,
Flash Fearless,
Girls At Our Best!,
Soft Cell,
Outsiders,
Ice-T,
Skarface,
The Wake,
Freddie Wadling,
Fort Wilson Riot,
Echospace,
Pantytec,
Loose Ends,
Ronnie Foster,
Tropical Tobacco,
The Doors,
Siglo XX,
The Golliwogs,
Warren Ellis,
Nik Kershaw,
The Star Department,
Young Marble Giants,
Dual Sessions,
Cecil Taylor,
Arcadia,
Colin Newman,
Mandrill,
The Velvet Underground,
Electric Light Orchestra,
Desert Stars,
Crispian St. Peters,
Wighnomy Brothers & Robag Wruhme,
DJ Style,
The Doobie Brothers,
Dorothy Ashby,
Ohio Players,
Dead Boys,
Connie Case,
Selector Dub Narcotic,
Basic Channel,
Jawbox,
Henry Cow,
The Fall,
Negative Approach,
Excepter,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.