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 Vietnam and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1977.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Paris 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 oboe 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 The Moleskins to the electroclash kids.
I played it at the Roxy.
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 Sonics. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
The Five Americans,
June of 44,
Scott Walker,
Thompson Twins,
Vaughan Mason & Crew,
Subhumans,
Lucky Dragons,
Mandrill,
The Associates,
Joyce Sims,
Thee Headcoats,
Radiohead,
The Techniques,
Boredoms,
Pete Rock & C.L. Smooth,
Country Joe & The Fish,
Notorious BIG live in Amsterdam,
Stetsasonic,
Siouxsie and the Banshees,
Hashim,
Visage,
Sonny Sharrock,
Flash Fearless,
Vainqueur,
Glenn Branca,
Ituana,
Eurythmics,
Von Mondo,
Soft Cell,
Masters at Work,
N.O.R.E. Featuring Pharrell,
Stiv Bators,
Scrapy,
The Peanut Butter Conspiracy,
Bluetip,
Ultra Naté,
Pantytec,
MC5,
Kool G Rap & DJ Polo,
Faust,
Wally Richardson,
Minutemen,
Major Organ And The Adding Machine,
Barclay James Harvest,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rahsaan Roland Kirk,
Soul Sonic Force,
Delta 5,
Lightning Bolt,
Freddie Wadling,
Graham Central Station,
John Lydon,
Derrick Morgan,
Colin Newman,
Grandmaster Flash and the Furious Five,
Crash Course in Science,
The Buckinghams,
Rhythm & Sound,
Faraquet,
Strawberry Alarm Clock,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.