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 Georgia and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 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 Drexciya to the grunge 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 Au Pairs. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Monks,
The Busters,
The Blackbyrds,
Barclay James Harvest,
Barbara Tucker,
Dave Gahan,
Black Bananas,
Technova,
Babytalk,
Gang of Four,
The Leaves,
Q65,
Sam Rivers,
Bizarre Inc.,
Louis and Bebe Barron,
These Immortal Souls,
Scott Walker,
Desert Stars,
Roxy Music,
The Victims,
The Black Dice,
Siglo XX,
Intrusion,
Throbbing Gristle,
Marcia Griffiths,
Radiohead,
Fifty Foot Hose,
Cymande,
The Moleskins,
Archie Shepp,
Minnie Riperton,
Fad Gadget,
Sound Behaviour,
AZ,
Boz Scaggs,
Radio Birdman,
Bush Tetras,
Bronski Beat,
Dual Sessions,
Fort Wilson Riot,
Todd Rundgren,
Supertramp,
Grandmaster Flash and the Furious Five,
Ken Boothe,
Unwound,
Piero Umiliani,
Jacob Miller,
The Fuzztones,
Dorothy Ashby,
Terry Callier,
Amon Düül II,
The Dead C,
Sonic Youth,
Notorious BIG live in Amsterdam,
Nas,
Bobby Hutcherson,
Rakim,
Agent Orange,
The Modern Lovers,
Susan Cadogan,
Fluxion, Fluxion, Fluxion, Fluxion.
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.