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 Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1960 to 1974.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Isaac Hayes to the rap 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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Lou Christie 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 crunk 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
The Kinks,
Yazoo,
Mars,
Can,
Aaron Thompson,
Index,
Black Flag,
Curtis Mayfield,
Major Organ And The Adding Machine,
Buzzcocks,
Gastr Del Sol,
The Five Americans,
Susan Cadogan,
Hoover,
The Offenders,
The Star Department,
Main Source,
Blake Baxter,
FM Einheit,
Magazine,
The Raincoats,
H. Thieme,
a-ha,
The Mojo Men,
ABC,
Motorama,
the Soft Cell,
Nation of Ulysses,
Ronan,
Art Ensemble Of Chicago,
Pete Rock & C.L. Smooth,
The Alarm Clocks,
Ajijia Myrayebe,
JFA,
Desert Stars,
Bronski Beat,
the Association,
The Cure,
Avey Tare & Kría Brekkan,
X-Ray Spex,
Janne Schatter,
Sonic Youth,
Japan,
The Skatalites,
The Count Five,
Das Ding,
Bobby Byrd,
Eyeless In Gaza,
The Detroit Cobras,
Robert Hood,
Hardrive,
Schoolly D,
Teenage Jesus and the Jerks,
Rahsaan Roland Kirk,
Dead Boys,
Don Cherry,
CMW,
Ronnie Foster,
Larry & the Blue Notes,
Nas,
Carl Craig,
Sugar Minott,
Grauzone,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.