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 Serbia and from Cairo.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Lille 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Circle Jerks to the jazz kids.
I played it at Trash.
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 One Last Wish. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cheater Slicks record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Arthur Verocai,
Siouxsie and the Banshees,
London Community Gospel Choir,
One Last Wish,
The Smoke,
The Associates,
ABBA,
Tom Boy,
Gang of Four,
Sonic Youth,
Country Joe & The Fish,
Dead Boys,
John Foxx,
Harry Pussy,
Khruangbin,
Bobbi Humphrey,
Avey Tare,
Kenny Larkin,
X-101,
The Blackbyrds,
Public Enemy,
Max Romeo,
Sarah Menescal,
Urselle,
Mark Hollis,
Super Lover Cee & Casanova Rud,
Rhythim Is Rhythim,
Underground Resistance,
Godley & Creme,
The Beau Brummels,
Wolf Eyes,
Pharaoh Sanders and the Fire Engines,
Saccharine Trust,
John Cale,
The Fire Engines,
The Barracudas,
Nils Olav,
Bang on a Can All-Stars,
48th St. Collective,
Graham Central Station,
Deadbeat,
The Sisters of Mercy,
Audionom,
Model 500,
Gang Green,
Royal Trux,
The Sonics,
Janne Schatter,
Tropical Tobacco,
EPMD,
Cluster,
Bush Tetras,
Gil Scott-Heron and Jamie xx,
Lebanon Hanover,
Eric B and Rakim,
Donny Hathaway,
Sixth Finger,
the Sonics,
Masters at Work,
Quadrant,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.