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 Malawi and from Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Seoul 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 clarinet 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 Alison Limerick to the funk 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 Brothers Johnson. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Arab on Radar,
Chrome,
Lower 48,
Electric Prunes,
The Blues Magoos,
The Associates,
Art Ensemble Of Chicago,
The Tremeloes,
Gang Gang Dance,
Jacob Miller,
Funkadelic,
Q65,
Nik Kershaw,
Sparks,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
the Fania All-Stars,
The Raincoats,
Kango’s Stein Massive,
Camouflage,
Lungfish,
the Bar-Kays,
John Lydon,
Avey Tare,
Main Source,
Heaven 17,
Shoche,
The Mummies,
Bronski Beat,
Icehouse,
Michelle Simonal,
Roy Ayers,
Brand Nubian,
The Litter,
Alphaville,
The Selecter,
Loose Ends,
Orchestral Manoeuvres in the Dark,
Adolescents,
Bauhaus,
Bizarre Inc.,
MDC,
Cabaret Voltaire,
Patti Smith,
Mark Hollis,
Eric B and Rakim,
Sun City Girls,
Sarah Menescal,
Swans,
The Beau Brummels,
Red Lorry Yellow Lorry,
Johnny Osbourne,
Public Enemy,
The Gap Band,
Section 25,
Pharaoh Sanders and the Fire Engines,
Iggy Pop,
Sex Pistols,
Minutemen,
De La Soul & Jungle Brothers,
T. Rex,
Aswad,
The Gories, The Gories, The Gories, The Gories.
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.