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 Comoros and from Bologna.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Columbus 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 güiro 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 Aswad to the electroclash kids.
I played it at the Spitz.
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 Connie Case. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Danielle Patucci,
Ohio Players,
Vladislav Delay,
Louis and Bebe Barron,
Gang of Four,
Hoover,
Bobbi Humphrey,
Gil Scott-Heron and Jamie xx,
Rhythm & Sound,
Junior Murvin,
Ultra Naté,
David Axelrod,
Jawbox,
Nico,
JFA,
Michelle Simonal,
Janne Schatter,
The Litter,
Sound Behaviour,
Vaughan Mason & Crew,
Groovy Waters,
Pet Shop Boys,
The Evens,
the Human League,
Chris & Cosey,
Pantytec,
Smog,
It's A Beautiful Day,
Gil Scott-Heron & Brian Jackson,
Rapeman,
Erasure,
Rotary Connection,
ABC,
Oneida,
Man Parrish,
Shuggie Otis,
Mary Jane Girls,
Little Man,
Accadde A,
Gabor Szabo,
Jesper Dahlbäck,
Selector Dub Narcotic,
Glambeats Corp.,
Boogie Down Productions,
Mark Hollis,
48th St. Collective,
Country Joe & The Fish,
Joensuu 1685,
Crispy Ambulance,
Sun Ra,
Aloha Tigers,
Lafayette Afro Rock Band,
The Sound,
The Young Rascals,
The Golliwogs,
The Cowsills,
ABBA,
The Star Department,
Bush Tetras,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.