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 Mongolia and from Seoul.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Halifax 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 808 sounds with much patience.
I was there when David Bowie 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 Lizzy Mercier Descloux to the electroclash kids.
I played it at the Astoria.
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 Sight & Sound. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every The Alarm Clocks 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Dorothy Ashby,
Eyeless In Gaza,
Sunsets and Hearts,
Infiniti,
Marine Girls,
Talk Talk,
Ronan,
Kings Of Tomorrow,
The Wake,
Leonard Cohen,
Ituana,
DNA,
Gil Scott Heron,
The Music Machine,
Al Stewart,
Underground Resistance,
The Alarm Clocks,
Country Teasers,
Swell Maps,
Liliput,
Main Source,
Crooked Eye,
The Fortunes,
The Toasters,
Throbbing Gristle,
Larry & the Blue Notes,
Alison Limerick,
Rhythim Is Rhythim,
Jeff Lynne,
Bill Wells,
Panda Bear,
Derrick Morgan,
Mars,
Hashim,
D'Angelo,
Junior Murvin,
Warren Ellis,
Funky Four + One,
Swans,
Average White Band,
Siglo XX,
MDC,
Eli Mardock,
Mantronix,
Röyhkä ja Rättö ja Lehtisalo,
Super Lover Cee & Casanova Rud,
Metal Thangz,
The Mummies,
Nils Olav,
Kango’s Stein Massive,
OOIOO,
Prince Buster,
Eric B and Rakim,
The Litter,
Ohio Players,
Kenny Larkin,
Blake Baxter,
Scan 7,
Ajijia Myrayebe,
Orchestral Manoeuvres in the Dark,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.