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 Ireland and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Lyon 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 güiro 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 The Seeds to the disco kids.
I played it at the 40 Watt.
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 Interpol. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Brass Construction,
Charles Mingus,
Little Man,
Joey Negro,
Desert Stars,
The Fuzztones,
Yaz,
Rowland S Howard / Lydia Lunch,
The Gladiators,
Andrew Hill,
Kings Of Tomorrow,
Kas Product,
Roy Ayers,
Subhumans,
Andrew Ashong & Theo Parrish,
Audionom,
De La Soul & Jungle Brothers,
Lebanon Hanover,
the Normal,
Talk Talk,
Heavy D & The Boyz,
Q and Not U,
Notorious Big And Bone Thugs,
Gang Starr,
Hardrive,
Guru Guru,
Gang of Four,
The Skatalites,
Jerry Gold Smith,
Barclay James Harvest,
Strawberry Alarm Clock,
JFA,
Sticky Fingaz feat. Raekwon,
Liliput,
Angry Samoans,
Crime,
The Music Machine,
AZ,
Lyres,
Ten City,
Selector Dub Narcotic,
Scratch Acid,
Mad Mike,
Marc Almond,
Super Lover Cee & Casanova Rud,
Hoover,
Scott Walker + Sunn O))),
Make Up,
Idris Muhammad,
Cecil Taylor,
Siouxsie and the Banshees,
The Detroit Cobras,
The Victims,
Mandrill,
Television Personalities,
Pylon,
The Dead C,
The Associates,
Quantec,
Sex Pistols,
Thee Headcoats,
Shuggie Otis,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.