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 Cambodia and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1972.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Accra 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 harpsichord 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 John Foxx to the disco kids.
I played it at Trash.
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 Eyeless In Gaza. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Byron Stingily 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 '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Khruangbin,
Echospace,
Parry Music,
Excepter,
Kerrie Biddell,
Crime,
The Dave Clark Five,
The Techniques,
Sparks,
Kerri Chandler,
Quando Quango,
Pylon,
the Germs,
Jesper Dahlbäck,
Scrapy,
Selector Dub Narcotic,
Al Stewart,
Kango’s Stein Massive,
Toni Rubio,
Marshall Jefferson,
Massinfluence,
Dawn Penn,
F. McDonald,
Scott Walker + Sunn O))),
Don Cherry,
Archie Shepp,
Quantec,
These Immortal Souls,
Glambeats Corp.,
The Pretty Things,
Bob Dylan,
The Electric Prunes,
The Knickerbockers,
Procol Harum,
Mars,
World's Most,
The Men They Couldn't Hang,
Cheater Slicks,
Johnny Osbourne,
The Fire Engines,
Eric Dolphy,
The Dirtbombs,
Public Image Ltd.,
Steve Hackett,
Glenn Branca,
Kurtis Blow,
Kaleidoscope,
Pantytec,
Derrick May,
Surgeon,
The Young Rascals,
Metal Thangz,
Neu!,
Nas,
Tim Buckley,
Spoonie Gee,
Larry & the Blue Notes,
Laurel Aitken,
Boogie Down Productions,
The Wake,
Unwound, Unwound, Unwound, Unwound.
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.