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 Brazil and from Tehran.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Manila 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 Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator 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 Albert Ayler to the grunge kids.
I played it at Cafe Wha.
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 Captain Beefheart & His Magic Band. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
X-101,
Rufus Thomas,
Derrick May,
Jacques Brel,
Kerrie Biddell,
The Royal Family And The Poor,
K-Klass,
Faraquet,
Tom Boy,
KRS-One,
Mary Jane Girls,
Sarah Menescal,
Kevin Saunderson,
Lalann,
Skarface,
Dorothy Ashby,
Suburban Knight,
Glenn Branca,
Technova,
The Martian,
Lungfish,
CMW,
Liliput,
Gichy Dan,
The Gap Band,
Sparks,
Barclay James Harvest,
Kango’s Stein Massive,
Organ,
The Remains,
Visage,
John Foxx,
Hardrive,
Cameo,
The Cure,
Anakelly,
Brothers Johnson,
Duran Duran,
Sly & The Family Stone,
Neil Young,
E-Dancer,
R.M.O.,
Clear Light,
Brass Construction,
Fela Kuti,
Fatback Band,
Peter & Gordon,
Jeru the Damaja,
Warsaw,
Pantaleimon,
Khruangbin,
Ossler,
Reagan Youth,
Ken Boothe,
Sexual Harrassment,
Johnny Osbourne,
Rosa Yemen,
Jimmy McGriff,
Louis and Bebe Barron,
The Zeros, The Zeros, The Zeros, The Zeros.
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.