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 Burkina and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Lyon.
I'm losing my edge to the art-school Tokyo 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 Michael McDonald 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 Johnny Clarke to the electroclash 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 Public Enemy. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every The Shadows of Knight 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
The Peanut Butter Conspiracy,
Hoover,
Teenage Jesus and the Jerks,
Technova,
Matthew Bourne,
The Misunderstood,
Gichy Dan,
Marine Girls,
ABC,
Kerrie Biddell,
Amon Düül II,
Make Up,
Metal Thangz,
Gang of Four,
L. Decosne,
Hashim,
Soul Sonic Force,
Tres Demented,
the Bar-Kays,
the Swans,
John Cale,
Icehouse,
Section 25,
Organ,
Dark Day,
The Golliwogs,
The Flesh Eaters,
Dennis Brown,
Junior Murvin,
The Invisible,
Stereo Dub,
Mark Hollis,
La Düsseldorf,
Kaleidoscope,
World's Most,
K-Klass,
The Cure,
Ornette Coleman,
Circle Jerks,
Sound Behaviour,
Sixth Finger,
Black Flag,
DeepChord presents Echospace,
EPMD,
The Index,
Theoretical Girls,
Selector Dub Narcotic,
The Residents,
Albert Ayler,
Tears for Fears,
Stiv Bators,
The Smiths,
These Immortal Souls,
Robert Wyatt,
Wire,
E-Dancer,
A Certain Ratio,
The Mighty Diamonds,
Chris Corsano,
Eyeless In Gaza,
AZ,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.