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 Eritrea and from Tokyo.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare 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 Marine Girls to the jazz kids.
I played it at the Spitz.
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 Liliput. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Amon Düül II,
Bob Dylan,
Joe Smooth,
Scott Walker,
Marcia Griffiths,
The Slackers,
Johnny Clarke,
Guru Guru,
Crime,
The Fuzztones,
The Count Five,
Essential Logic,
Country Teasers,
Curtis Mayfield,
The Last Poets,
Graham Central Station,
Pantytec,
The Mummies,
Drexciya,
The Invisible,
Ituana,
Davy DMX,
The Cramps,
The Buckinghams,
Outsiders,
Bobby Sherman,
Quantec,
Toni Rubio,
The Mojo Men,
Jeru the Damaja,
a-ha,
Intrusion,
Fugazi,
Moebius,
D'Angelo,
H. Thieme,
Model 500,
Livin' Joy,
The Leaves,
Black Bananas,
Electric Light Orchestra,
Eve St. Jones,
Radiohead,
Lou Reed,
Idris Muhammad,
Echo & the Bunnymen,
The West Coast Pop Art Experimental Band,
Larry & the Blue Notes,
The Offenders,
Teenage Jesus and the Jerks,
Sun City Girls,
The Misunderstood,
Ornette Coleman,
Soft Machine,
The Walker Brothers,
Boogie Down Productions,
The Fugs,
Marine Girls,
Marshall Jefferson,
Country Joe & The Fish,
The Durutti Column,
La Düsseldorf,
MDC,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.