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 Gambia and from Calgary.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Paris 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Pere Ubu to the punk 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 Jeru the Damaja. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Lungfish 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Metal Thangz,
The Smoke,
Wally Richardson,
Siglo XX,
Fifty Foot Hose,
Agitation Free,
The Techniques,
Boredoms,
Index,
Grauzone,
Soft Machine,
Lindisfarne,
The Dead C,
Pere Ubu,
Bill Near,
The West Coast Pop Art Experimental Band,
The Men They Couldn't Hang,
Saccharine Trust,
Yusef Lateef,
Gabor Szabo,
Skaos,
Roxy Music,
Todd Rundgren,
Japan,
The Flesh Eaters,
New Order,
Hoover,
Suicide,
Parry Music,
John Lydon,
Heavy D & The Boyz,
Popol Vuh,
The Monochrome Set,
MDC,
Excepter,
L. Decosne,
Drive Like Jehu,
Fort Wilson Riot,
Hot Snakes,
Swans,
Ken Boothe,
Ossler,
Laurel Aitken,
The J.B.'s,
Audionom,
Skriet,
China Crisis,
Albert Ayler,
Pete Rock & C.L. Smooth,
Bobby Sherman,
Livin' Joy,
The Pop Group,
Idris Muhammad,
The Skatalites,
Thinking Fellers Union Local 282,
Porter Ricks,
Von Mondo,
The Chocolate Watch Band,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.