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 Liberia and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Shanghai.
I'm losing my edge to the art-school Manchester 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin 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 B.T. Express to the grunge kids.
I played it at Cafe Wha.
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 Oblivians. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Slave 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Kings Of Tomorrow,
The Saints,
Super Lover Cee & Casanova Rud,
Kool Moe Dee,
Rowland S Howard / Lydia Lunch,
Radiohead,
The Black Dice,
John Coltrane,
Alton Ellis,
Lucky Dragons,
Archie Shepp,
Sight & Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Godley & Creme,
Albert Ayler,
The Monks,
Freddie Wadling,
Technova,
F. McDonald,
Pussy Galore,
Beasts of Bourbon,
Junior Murvin,
Surgeon,
Art Ensemble Of Chicago,
Joensuu 1685,
Oblivians,
Minor Threat,
Throbbing Gristle,
Scrapy,
Skriet,
Selector Dub Narcotic,
DNA,
Jeff Mills,
Mad Mike,
Wally Richardson,
Pharoah Sanders,
Terrestrial Tones,
Jeru the Damaja,
Interpol,
The Flesh Eaters,
Sixth Finger,
Thompson Twins,
Gerry Rafferty,
Carl Craig,
Theoretical Girls,
Richard Hell and the Voidoids,
The Dead C,
Jeff Lynne,
Glenn Branca,
Grauzone,
Terry Callier,
Smog,
Buzzcocks,
Flipper,
Judy Mowatt,
Bobby Womack,
FM Einheit,
EPMD,
Dr. Dre and Snoop Doggy Dog,
The Mighty Diamonds,
Babytalk,
T.S.O.L.,
Bauhaus,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.