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 Somalia and from Stockholm.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Delhi 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 linndrum 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 Mars to the electroclash 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 Eric Copeland. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Nas 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 '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Ultimate Spinach,
Boz Scaggs,
Wighnomy Brothers & Robag Wruhme,
Ultra Naté,
Jawbox,
It's A Beautiful Day,
Jacob Miller,
Gichy Dan,
Easy Going,
Liliput,
Amon Düül,
The Cramps,
Toni Rubio,
Ronnie Foster,
Banda Bassotti,
Althea and Donna,
MC5,
Ultramagnetic MC's,
Ajijia Myrayebe,
Anakelly,
Thee Headcoats,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
World's Most,
In Retrospect,
Cybotron,
Gil Scott-Heron & Brian Jackson,
Chrome,
Nick Fraelich,
Amon Düül II,
Buzzcocks,
The Beau Brummels,
Lebanon Hanover,
The Birthday Party,
Bobby Womack,
Ohio Players,
Terry Callier,
Heavy D & The Boyz,
Minutemen,
Royal Trux,
Franke,
Pharoah Sanders,
Monolake,
Deutsch Amerikanische Freundschaft,
PIL,
Grandmaster Flash,
Nirvana,
Freddie Wadling,
Cecil Taylor,
The United States of America,
Barry Ungar,
Jeff Mills,
Wire,
Reuben Wilson,
Carl Craig,
Livin' Joy,
Sam Rivers,
Tubeway Army,
Danielle Patucci,
Brand Nubian,
The Monks, The Monks, The Monks, The Monks.
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.