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 Bolivia and from Lille.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
I'm losing my edge to the art-school Halifax 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 China Crisis to the disco kids.
I played it at Cafe Wha.
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 Pussy Galore. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Lindisfarne,
Marmalade,
Nation of Ulysses,
Mo-Dettes,
Rod Modell,
David McCallum,
Robert Hood,
Curtis Mayfield,
David Axelrod,
Yazoo,
The Stooges,
The Toasters,
Scientists,
Sun City Girls,
La Düsseldorf,
Scott Walker + Sunn O))),
Rhythim Is Rhythim,
Ituana,
Faraquet,
Lalo Schifrin,
The American Breed,
Boredoms,
Suicide,
New York Dolls,
Bronski Beat,
Rekid,
Spandau Ballet,
Ronnie Foster,
FM Einheit,
Country Joe & The Fish,
Cymande,
Roy Ayers Ubiquity,
Sister Nancy,
The Star Department,
The Black Dice,
Sex Pistols,
The Detroit Cobras,
Gian Franco Pienzio,
The Index,
Vladislav Delay,
Traffic Nightmare,
Rowland S Howard / Lydia Lunch,
Flash Fearless,
Siglo XX,
Chrome,
It's A Beautiful Day,
John Coltrane,
Pere Ubu,
Peter and Kerry,
the Association,
Jesper Dahlback,
Jerry Gold Smith,
Pussy Galore,
The Names,
Lafayette Afro Rock Band,
Second Layer,
Marshall Jefferson,
Albert Ayler,
Joey Negro,
The Knickerbockers,
Fluxion,
Soul Sonic Force,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.