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 Georgia and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Accra and Calgary.
I'm losing my edge to the art-school Johannesburg 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 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 the Slits to the funk 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 Deakin. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Scrapy 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
L. Decosne,
Sound Behaviour,
The United States of America,
Negative Approach,
Half Japanese,
John Cale,
John Coltrane,
EPMD,
Harmonia,
Flash Fearless,
Icehouse,
T. Rex,
Stockholm Monsters,
Scott Walker,
Monolake,
Agitation Free,
Bobbi Humphrey,
Gian Franco Pienzio,
Trumans Water,
Outsiders,
Unwound,
Avey Tare's Slasher Flicks,
Ajijia Myrayebe,
Q65,
Lou Reed,
Thee Headcoats,
Black Flag,
David Axelrod,
Traffic Nightmare,
Minor Threat,
Super Lover Cee & Casanova Rud,
K-Klass,
Flamin' Groovies,
Louis and Bebe Barron,
The Barracudas,
Cheater Slicks,
Eyeless In Gaza,
The Music Machine,
Fluxion,
The Invisible,
Television,
Piero Umiliani,
James White and The Blacks,
The Human League,
The Men They Couldn't Hang,
Dorothy Ashby,
Unrelated Segments,
The Pretty Things,
Captain Beefheart & His Magic Band,
Kings Of Tomorrow,
DJ Sneak,
Jacques Brel,
Eric Copeland,
Lalann,
Little Man,
Toni Rubio,
The Beau Brummels,
Ornette Coleman,
Brick,
Peter & Gordon,
Notorious Big And Bone Thugs,
Malaria!, Malaria!, Malaria!, Malaria!.
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.