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 St Kitts & Nevis and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Beijing and Bologna.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Drive Like Jehu to the rock kids.
I played it at the 40 Watt.
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 Lyres. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every K-Klass 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 '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Kerri Chandler,
Thee Headcoats,
Cabaret Voltaire,
Lungfish,
Spandau Ballet,
The Standells,
The Last Poets,
Rowland S Howard / Lydia Lunch,
Mo-Dettes,
Faraquet,
World's Most,
Lou Reed & Metallica,
Neil Young & Crazy Horse,
Harpers Bizarre,
James Chance & The Contortions,
OOIOO,
Aural Exciters,
Peter Gordon & Love of Life Orchestra,
Half Japanese,
The Dave Clark Five,
Faust,
The Count Five,
Reuben Wilson,
Juan Atkins,
Janne Schatter,
Sun Ra Arkestra,
Maleditus Sound,
China Crisis,
Fort Wilson Riot,
Man Parrish,
Yaz,
The Cosmic Jokers,
Judy Mowatt,
Trumans Water,
Talk Talk,
Outsiders,
Kool G Rap & DJ Polo,
Stereo Dub,
Pylon,
U.S. Maple,
Idris Muhammad,
The Victims,
Tubeway Army,
The Kinks,
Lalann,
Interpol,
Delta 5,
Lebanon Hanover,
Charles Mingus,
Pharoah Sanders,
The Music Machine,
Minutemen,
Panda Bear,
Danielle Patucci,
The Sonics,
Avey Tare,
Anthony Braxton,
Roy Ayers Ubiquity,
Sun City Girls,
Brick,
Model 500, Model 500, Model 500, Model 500.
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.