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 United States and from Bremen.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Houston and Toronto.
I'm losing my edge to the art-school Jakarta 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 PIL to the jazz kids.
I played it at the Troubador.
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 Lightning Bolt. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every the Soft Cell 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
The Leaves,
Nils Olav,
Notorious BIG live in Amsterdam,
Gastr Del Sol,
Dual Sessions,
Hot Snakes,
Mantronix,
Joe Smooth,
Pantytec,
Avey Tare & Kría Brekkan,
Faust,
Junior Murvin,
Gerry Rafferty,
Lightning Bolt,
Kevin Saunderson,
Grauzone,
The Techniques,
World's Most,
Barbara Tucker,
The New Christs,
Simply Red,
Robert Wyatt,
Eurythmics,
The Fuzztones,
Parry Music,
Section 25,
Youth Brigade,
Stetsasonic,
Pharaoh Sanders and the Fire Engines,
Hashim,
Vaughan Mason & Crew,
B.T. Express,
Bauhaus,
Terrestrial Tones,
Joey Negro,
Kerrie Biddell,
Ornette Coleman,
Tomorrow,
Tears for Fears,
Sam Rivers,
Groovy Waters,
Letta Mbulu,
the Bar-Kays,
Kango’s Stein Massive,
Ronnie Foster,
Television,
Richard Hell and the Voidoids,
Lou Reed,
Kas Product,
Peter Gordon & Love of Life Orchestra,
La Düsseldorf,
Moss Icon,
The Black Dice,
Lower 48,
Niagra,
Fatback Band,
Eddi Front,
Byron Stingily,
This Heat,
Röyhkä ja Rättö ja Lehtisalo,
Harmonia,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.