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 Libya and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Milan 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Idris Muhammad to the rock kids.
I played it at the Spitz.
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 Howard Jones. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal rock 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Sun City Girls,
Black Flag,
X-102,
Andrew Ashong & Theo Parrish,
DJ Sneak,
Spoonie Gee,
The Red Krayola,
Pete Rock & C.L. Smooth,
Barry Ungar,
Buzzcocks,
The Standells,
Public Image Ltd.,
New Order,
Michelle Simonal,
Moebius,
Dual Sessions,
Rapeman,
Fluxion,
Ponytail,
Eyeless In Gaza,
The Blues Magoos,
Robert Görl,
Interpol,
Lungfish,
K-Klass,
The Royal Family And The Poor,
Fort Wilson Riot,
Man Eating Sloth,
Pierre Henry,
Peter and Kerry,
Kaleidoscope,
Kool G Rap & DJ Polo,
Yazoo,
The Selecter,
KRS-One,
Louis and Bebe Barron,
Bootsy Collins,
Big Daddy Kane,
the Sonics,
Gregory Isaacs,
Parry Music,
Kango’s Stein Massive,
Mad Mike,
The Moleskins,
The Names,
The Busters,
The Victims,
Gong,
Piero Umiliani,
OOIOO,
The Last Poets,
L. Decosne,
Das Ding,
Art Ensemble Of Chicago,
Nik Kershaw,
Soulsonic Force,
Hashim,
Albert Ayler,
Nils Olav,
Glambeats Corp.,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.