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 Kuwait and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Cairo.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 It's A Beautiful Day to the rock kids.
I played it at the Crocodile.
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 The Evens. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
James White and The Blacks,
Kenny Larkin,
Blancmange,
Matthew Halsall,
The Shadows of Knight,
Ossler,
Sam Rivers,
Severed Heads,
James Chance & The Contortions,
Clear Light,
Donny Hathaway,
the Normal,
Con Funk Shun,
Khruangbin,
Sonic Youth,
Johnny Clarke,
Marc Romboy vs. Booka Shade,
Public Image Ltd.,
Country Joe & The Fish,
Captain Beefheart & His Magic Band,
Gong,
John Holt,
Cymande,
Sound Behaviour,
Radiohead,
Iggy Pop,
Wings,
Kool Moe Dee,
The Sound,
The Sonics,
Siouxsie and the Banshees,
Strawberry Alarm Clock,
The J.B.'s,
The Barracudas,
Selector Dub Narcotic,
Pantytec,
Pagans,
Sister Nancy,
Magma,
The Fugs,
Franke,
Eric Dolphy,
D'Angelo,
Rufus Thomas,
Cal Tjader,
Cecil Taylor,
Barrington Levy,
Kauko Röyhkä ja Narttu,
Harpers Bizarre,
Scratch Acid,
Max Romeo,
Davy DMX,
EPMD,
Little Man,
Grandmaster Flash,
Quadrant,
Kerri Chandler,
MC5,
The Cramps,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.