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 Malta and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Beijing and Accra.
I'm losing my edge to the art-school Accra 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Bobby Womack to the grime 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 Wasted Youth. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Moby Grape,
Dennis Brown,
Maurizio,
Depeche Mode,
Darondo,
AZ,
Robert Görl,
Guru Guru,
Super Lover Cee & Casanova Rud,
Sällskapet,
Moebius,
MC5,
Maleditus Sound,
Metal Thangz,
Sound Behaviour,
Ultimate Spinach,
Country Joe & The Fish,
Glenn Branca,
Howard Jones,
Sarah Menescal,
The Alarm Clocks,
The Detroit Cobras,
the Fania All-Stars,
Cymande,
The Names,
Black Sheep,
Crooked Eye,
Scrapy,
The Litter,
Mark Hollis,
Bang On A Can,
Skriet,
John Holt,
Desert Stars,
Soft Cell,
Hardrive,
Avey Tare & Kría Brekkan,
The Fortunes,
Kas Product,
A Flock of Seagulls,
OOIOO,
LL Cool J,
Groovy Waters,
Beasts of Bourbon,
Max Romeo,
Throbbing Gristle,
Nation of Ulysses,
Wire,
Wighnomy Brothers & Robag Wruhme,
Laurel Aitken,
The Moleskins,
Avey Tare's Slasher Flicks,
The Sound,
Man Parrish,
Robert Wyatt,
Barclay James Harvest,
Motorama,
One Last Wish,
Neu!, Neu!, Neu!, Neu!.
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.