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 Thailand and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1966 to 1973.
I'm losing my edge.
To all the kids in Lille and New York.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Pussy Galore to the punk kids.
I played it at the Troubador.
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 Rakim. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
48th St. Collective,
DeepChord presents Echospace,
The Techniques,
Heaven 17,
The Golliwogs,
Faust,
Easy Going,
Nico,
Minnie Riperton,
Max Romeo,
Morten Harket,
Bobby Womack,
Thee Headcoats,
Terry Callier,
The Slackers,
Arab on Radar,
The Victims,
Don Cherry,
Warren Ellis,
Ornette Coleman,
Rhythim Is Rhythim,
The Real Kids,
Funkadelic,
JFA,
A Certain Ratio,
Joey Negro,
Strawberry Alarm Clock,
Darondo,
The Gories,
K-Klass,
Jandek,
The Wake,
Spoonie Gee,
Todd Terry,
Anakelly,
Ten City,
Icehouse,
The Evens,
Lakeside,
The Fuzztones,
Shoche,
Graham Central Station,
Ronan,
Liaisons Dangereuses,
Oneida,
Tim Buckley,
Deutsch Amerikanische Freundschaft,
Fad Gadget,
Von Mondo,
the Swans,
Pharoah Sanders,
Sandy B,
Bang On A Can,
Delon & Dalcan,
The Martian,
Yellowson,
The Cure,
the Slits,
Letta Mbulu,
It's A Beautiful Day,
Michelle Simonal,
Dave Gahan,
EPMD, EPMD, EPMD, EPMD.
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.