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 France and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Copenhagen 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 güiro 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 Los Fastidios to the grime 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 Unwound. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass 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?
Quantec,
Zapp,
the Swans,
The Move,
Lou Reed & Metallica,
The Fugs,
Bootsy Collins,
Soul II Soul,
Au Pairs,
The Associates,
Boredoms,
Aloha Tigers,
James White and The Blacks,
a-ha,
Alice Coltrane,
Tommy Roe,
Barrington Levy,
K-Klass,
Thinking Fellers Union Local 282,
Sight & Sound,
The Dave Clark Five,
H. Thieme,
Scan 7,
Malaria!,
The Happenings,
Kurtis Blow,
Scratch Acid,
Andrew Hill,
Bobby Hutcherson,
The Count Five,
Pere Ubu,
Public Enemy,
The Grass Roots,
The Names,
ABBA,
PIL,
Wire,
Iggy Pop,
Ohio Players,
Rowland S Howard / Lydia Lunch,
Ten City,
Metal Thangz,
Röyhkä ja Rättö ja Lehtisalo,
Electric Prunes,
Crime,
The Chocolate Watch Band,
Hasil Adkins,
Kerri Chandler,
Be Bop Deluxe,
Grauzone,
Nils Olav,
Roxy Music,
Underground Resistance,
Patti Smith,
The Offenders,
Public Image Ltd.,
Tim Buckley,
Pylon,
UT,
Television Personalities,
Bush Tetras,
Deadbeat,
New York Dolls,
DJ Style, DJ Style, DJ Style, DJ Style.
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.