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 Bhutan and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1973.
I'm losing my edge.
To all the kids in Houston and Manchester.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Avey Tare to the jazz 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 Gary Puckett & The Union Gap. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
The Gories,
Eli Mardock,
the Association,
Country Joe & The Fish,
Albert Ayler,
Robert Görl,
K-Klass,
Kaleidoscope,
Joensuu 1685,
Glenn Branca,
Girls At Our Best!,
Mad Mike,
Sun Ra,
The Fire Engines,
London Community Gospel Choir,
Nils Olav,
Radio Birdman,
Buzzcocks,
Crispian St. Peters,
Audionom,
kango's stein massive,
Lightning Bolt,
Jerry Gold Smith,
T. Rex,
Justin Hinds & The Dominoes,
Jeru the Damaja,
The Invisible,
Sarah Menescal,
The Peanut Butter Conspiracy,
Darondo,
Stereo Dub,
Cymande,
X-102,
Crooked Eye,
Sly & The Family Stone,
Warren Ellis,
Gastr Del Sol,
Gang of Four,
Sandy B,
Amon Düül II,
Amazonics,
the Normal,
Avey Tare's Slasher Flicks,
the Bar-Kays,
Gary Puckett & The Union Gap,
Young Marble Giants,
Funkadelic,
Pole,
The Cosmic Jokers,
The Fall,
Suicide,
The Martian,
LL Cool J,
Royal Trux,
Blossom Toes,
Sonic Youth,
Gabor Szabo,
Bad Manners,
Toni Rubio,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.