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 Maldives and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Johannesburg 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 Second Layer practice in a loft in South London.
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 Cal Tjader to the electroclash 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 Bob Dylan. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Crime,
FM Einheit,
Visage,
Cecil Taylor,
The Detroit Cobras,
Soul Sonic Force,
Warsaw,
Roy Ayers Ubiquity,
Sad Lovers and Giants,
Whodini,
Eli Mardock,
Kango’s Stein Massive,
Flash Fearless,
Prince Buster,
The Toasters,
K-Klass,
Pylon,
Black Flag,
Cal Tjader,
Animal Collective,
John Lydon,
Yusef Lateef,
The Happenings,
The Dave Clark Five,
MC5,
Monks,
Tommy Roe,
Erykah Badu,
Los Fastidios,
Fela Kuti,
Angry Samoans,
Soft Cell,
The Shadows of Knight,
The Moleskins,
Black Moon,
Ralphi Rosario,
Faraquet,
Q65,
The Cosmic Jokers,
Warren Ellis,
Scratch Acid,
Glenn Branca,
The Red Krayola,
Joe Smooth,
Archie Shepp,
Neil Young,
The Stooges,
Drive Like Jehu,
Ronan,
Eve St. Jones,
Lee Hazlewood,
Swell Maps,
Bobby Sherman,
Gary Puckett & The Union Gap,
Terrestrial Tones,
Sarah Menescal,
Grey Daturas,
Scion,
Heaven 17,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.