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 Cameroon and from Mumbai.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Jakarta 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 Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 Cecil Taylor to the techno kids.
I played it at the Hacienda.
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 Monks. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Pierre Henry 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Bill Near,
Joyce Sims,
Pet Shop Boys,
Flamin' Groovies,
The Peanut Butter Conspiracy,
The Divine Comedy,
the Sonics,
Trumans Water,
Lou Reed & John Cale,
Unrelated Segments,
Gabor Szabo,
Tomorrow,
Jeff Lynne,
Prince Buster,
Cameo,
Lindisfarne,
Sam Rivers,
Arthur Verocai,
Minor Threat,
June of 44,
The Toasters,
Wally Richardson,
Erasure,
Todd Rundgren,
Young Marble Giants,
Lafayette Afro Rock Band,
EPMD,
Index,
Marcia Griffiths,
Toni Rubio,
Pylon,
Ajijia Myrayebe,
Stiv Bators,
Eddi Front,
Kerri Chandler,
Fugazi,
Sun City Girls,
The Techniques,
Richard Hell and the Voidoids,
Derrick Morgan,
Excepter,
Inner City,
Skriet,
Goldenarms,
Dead Boys,
Althea and Donna,
Lalann,
Charles Mingus,
Sarah Menescal,
Pierre Henry,
Henry Cow,
Suburban Knight,
Lizzy Mercier Descloux,
Idris Muhammad,
Porter Ricks,
Nirvana,
Radio Birdman,
Infiniti,
Make Up,
Sonny Sharrock,
Cybotron,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.