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 Morocco and from Beijing.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Woodstock 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Boredoms to the punk kids.
I played it at the Troubador.
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 Chris Corsano. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Ossler 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Girls At Our Best!,
Tubeway Army,
Yaz,
Dawn Penn,
Crime,
Chrome,
Malaria!,
R.M.O.,
Quantec,
Lou Reed,
Black Sheep,
Lightning Bolt,
The Velvet Underground,
EPMD,
Sun Ra,
Groovy Waters,
The Star Department,
London Community Gospel Choir,
the Bar-Kays,
Adolescents,
T. Rex,
Jandek,
Fifty Foot Hose,
Justin Hinds & The Dominoes,
Strawberry Alarm Clock,
Isaac Hayes,
Arcadia,
Lee Hazlewood,
Scratch Acid,
The Pretty Things,
The Selecter,
Urselle,
Thee Headcoats,
Brothers Johnson,
Ash Ra Tempel,
DJ Style,
Unrelated Segments,
Dennis Brown,
Eurythmics,
Richard Hell and the Voidoids,
PIL,
Unwound,
The Techniques,
Inner City,
Fluxion,
Reuben Wilson,
Godley & Creme,
Brass Construction,
Popol Vuh,
Terrestrial Tones,
Magazine,
The Fire Engines,
Warren Ellis,
Rowland S Howard / Lydia Lunch,
Maleditus Sound,
Hardrive,
Kango’s Stein Massive,
MDC,
Idris Muhammad,
Technova,
Infiniti,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.