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 Venezuela and from Taipei.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Cairo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar 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 Altered Images to the rap 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 Jimmy McGriff. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Monks,
Negative Approach,
Freddie Wadling,
Notorious BIG live in Amsterdam,
Ituana,
China Crisis,
Qualms,
Henry Cow,
Livin' Joy,
Man Parrish,
Fear,
Stockholm Monsters,
X-102,
The Saints,
The Selecter,
Gil Scott Heron,
Wighnomy Brothers & Robag Wruhme,
Crash Course in Science,
Josef K,
Crime,
Bobby Sherman,
Blancmange,
The Happenings,
Funky Four + One,
Curtis Mayfield,
Lou Reed & Metallica,
John Cale,
Avey Tare & Kría Brekkan,
Quadrant,
Masters at Work,
Yazoo,
Tres Demented,
Make Up,
Glambeats Corp.,
Fugazi,
The Young Rascals,
The Kinks,
Clear Light,
Judy Mowatt,
The Gories,
cv313,
Joy Division,
Ajijia Myrayebe,
One Last Wish,
Jeff Mills,
Marvin Gaye,
Amon Düül II,
Archie Shepp,
Neu!,
Talk Talk,
Kayak,
Audionom,
Soul II Soul,
The Trojans,
Warsaw,
Parry Music,
The Monks,
James White and The Blacks,
the Germs,
Motorama,
AZ, AZ, AZ, AZ.
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.