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 Bhutan and from London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Mumbai 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 Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 the Bar-Kays to the rock kids.
I played it at the Roxy.
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 Niagra. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Kool G Rap & DJ Polo,
Fat Boys,
Interpol,
Oblivians,
Gil Scott Heron,
Rhythm & Sound,
Wire,
Pere Ubu,
The Alarm Clocks,
Pharoah Sanders,
Shoche,
Terrestrial Tones,
Connie Case,
Blake Baxter,
Bush Tetras,
The Tremeloes,
Ohio Players,
Rhythim Is Rhythim,
Crispian St. Peters,
Newcleus,
Girls At Our Best!,
Black Moon,
Bauhaus,
John Holt,
Amon Düül II,
X-102,
Country Teasers,
Throbbing Gristle,
Echo & the Bunnymen,
The Slits,
Mark Hollis,
The Modern Lovers,
cv313,
Marc Almond,
Cluster,
The Pop Group,
Alison Limerick,
Patti Smith,
Silicon Teens,
Anakelly,
Soul Sonic Force,
The Wake,
Popol Vuh,
Cybotron,
Gil Scott-Heron and Jamie xx,
Rahsaan Roland Kirk,
Kenny Larkin,
The Selecter,
Moby Grape,
Gastr Del Sol,
China Crisis,
Kango’s Stein Massive,
Altered Images,
Rites of Spring,
Spandau Ballet,
Bootsy Collins,
Stockholm Monsters,
Gang Starr,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.