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 Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Albert Ayler to the grunge kids.
I played it at the Crocodile.
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 Gang Green. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Aloha Tigers 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 '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Bootsy Collins,
Los Fastidios,
The Index,
Avey Tare,
Terror Squad Feat. Camron,
Lalann,
Nation of Ulysses,
The Star Department,
Graham Central Station,
Average White Band,
Art Ensemble Of Chicago,
Marvin Gaye,
Ohio Players,
Vladislav Delay,
Lou Reed,
The Black Dice,
Public Enemy,
Joensuu 1685,
Infiniti,
Das Ding,
The Fugs,
the Normal,
Marc Almond,
The Motions,
the Germs,
Grandmaster Flash and the Furious Five,
Loose Ends,
Harmonia,
Wighnomy Brothers & Robag Wruhme,
Rhythm & Sound,
The Remains,
Blossom Toes,
Black Flag,
Girls At Our Best!,
The Monochrome Set,
Black Sheep,
Kango’s Stein Massive,
Camouflage,
Whodini,
Warsaw,
Eden Ahbez,
Newcleus,
Alton Ellis,
Glambeats Corp.,
DNA,
Swell Maps,
Juan Atkins,
Dennis Brown,
Franke,
Morten Harket,
Icehouse,
Lizzy Mercier Descloux,
The Young Rascals,
John Coltrane,
PIL,
Vaughan Mason & Crew,
The Detroit Cobras,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.