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 Mauritius and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Milan 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 1984 at the first Arcadia practice in a loft in 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 Mo-Dettes to the funk kids.
I played it at the 40 Watt.
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 Shuggie Otis. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Los Fastidios 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 '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Man Eating Sloth,
Grandmaster Flash,
Henry Cow,
Mission of Burma,
Strawberry Alarm Clock,
Kevin Saunderson,
Parry Music,
Lebanon Hanover,
Popol Vuh,
Kurtis Blow,
Dual Sessions,
Groovy Waters,
Robert Hood,
Crime,
MC5,
The Buckinghams,
Kool G Rap & DJ Polo,
Michelle Simonal,
Brand Nubian,
Icehouse,
Quando Quango,
Pierre Henry,
David McCallum,
Gil Scott Heron,
Trumans Water,
Lungfish,
The Searchers,
Delta 5,
Al Stewart,
Jacob Miller,
The Toasters,
Nick Cave & The Bad Seeds,
Pylon,
Boogie Down Productions,
Half Japanese,
Tears for Fears,
Grey Daturas,
Eli Mardock,
Das Ding,
Severed Heads,
Avey Tare,
Gang Green,
Connie Case,
The Five Americans,
Mary Jane Girls,
Cymande,
Anakelly,
Pole,
Interpol,
The Standells,
Nirvana,
Ronan,
Quadrant,
Deutsch Amerikanische Freundschaft,
Scientists,
Piero Umiliani,
Country Joe & The Fish,
Circle Jerks,
Idris Muhammad,
The Martian,
Maleditus Sound,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.