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 Marshall Islands and from New York.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Bremen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Eric B and Rakim to the disco kids.
I played it at the Astoria.
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 K-Klass. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Zapp,
Lalo Schifrin,
Audionom,
Half Japanese,
Ponytail,
The Jesus and Mary Chain,
Pete Rock & C.L. Smooth,
Neu!,
Deakin,
Brass Construction,
A Certain Ratio,
Susan Cadogan,
Marmalade,
The Index,
DeepChord presents Echospace,
Crooked Eye,
Bizarre Inc.,
Hashim,
Slave,
ABBA,
Dorothy Ashby,
Scientists,
La Düsseldorf,
The Beau Brummels,
Arab on Radar,
Henry Cow,
The Mummies,
Inner City,
Los Fastidios,
Organ,
The Standells,
Aswad,
Metal Thangz,
Guru Guru,
Gil Scott Heron,
The Happenings,
Larry & the Blue Notes,
Warsaw,
Gang Gang Dance,
Bluetip,
Delon & Dalcan,
Radio Birdman,
Fela Kuti,
Public Enemy,
Masters at Work,
Supertramp,
Archie Shepp,
The Dave Clark Five,
D'Angelo,
Mo-Dettes,
Jimmy McGriff,
Scratch Acid,
Rowland S Howard / Lydia Lunch,
Wally Richardson,
Bad Manners,
The Wake,
Frankie Knuckles,
Banda Bassotti,
The J.B.'s,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.