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 Belarus and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Jakarta 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 Holger Czukay 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 This Heat 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 Scratch Acid. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Darondo,
John Lydon,
Bang on a Can All-Stars,
Average White Band,
Minor Threat,
Ash Ra Tempel,
Lou Reed & John Cale,
Blake Baxter,
FM Einheit,
Technova,
Scratch Acid,
The Seeds,
Gregory Isaacs,
Rufus Thomas,
Frankie Knuckles,
Robert Wyatt,
Notorious Big And Bone Thugs,
Reuben Wilson,
Laurel Aitken,
Television,
James Chance & The Contortions,
Reagan Youth,
Arcadia,
Organ,
Soulsonic Force,
Electric Prunes,
The Jesus and Mary Chain,
The Trojans,
DJ Sneak,
The Flesh Eaters,
Rhythim Is Rhythim,
Second Layer,
Sugar Minott,
Jeru the Damaja,
Bill Near,
The Zeros,
Kurtis Blow,
Tubeway Army,
Nils Olav,
Suburban Knight,
Ultramagnetic MC's,
Camron Feat. Memphis Bleek And Beenie Seigel,
The American Breed,
Eurythmics,
It's A Beautiful Day,
Louis and Bebe Barron,
The Leaves,
Richard Hell and the Voidoids,
Jimmy McGriff,
Grey Daturas,
Gang Gang Dance,
Gichy Dan,
Kauko Röyhkä ja Narttu,
Albert Ayler,
Soul Sonic Force,
Roy Ayers Ubiquity,
K-Klass,
Rotary Connection,
The Remains,
The Star Department,
Roy Ayers,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.