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 Lebanon and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1974.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Manchester 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 Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Chocolate Watch Band to the grime kids.
I played it at Trash.
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 Eyeless In Gaza. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Surgeon record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
X-102,
Rowland S Howard / Lydia Lunch,
Richard Hell and the Voidoids,
Pulsallama,
Silicon Teens,
Radio Birdman,
Ash Ra Tempel,
Index,
Wings,
Sandy B,
Kayak,
Country Joe & The Fish,
Brothers Johnson,
Ornette Coleman,
Marvin Gaye,
Lou Reed,
Girls At Our Best!,
Siouxsie and the Banshees,
Can,
The Techniques,
Sad Lovers and Giants,
Marine Girls,
Marc Romboy vs. Booka Shade,
Radiopuhelimet,
Gil Scott-Heron & Brian Jackson,
Ajijia Myrayebe,
Ten City,
Gang Gang Dance,
Bobby Hutcherson,
Avey Tare & Kría Brekkan,
Liliput,
David Axelrod,
Swans,
Robert Hood,
Henry Cow,
Delon & Dalcan,
Talk Talk,
Urselle,
Lightning Bolt,
Unwound,
Juan Atkins,
Inner City,
The American Breed,
The Toasters,
Ultramagnetic MC's,
Soul Sonic Force,
Icehouse,
Lafayette Afro Rock Band,
Yazoo,
Albert Ayler,
the Slits,
Letta Mbulu,
Al Stewart,
The Fugs,
Little Man,
Pole,
Lower 48,
Television,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.