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 Sudan and from Lyon.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Bremen and Accra.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when David Bowie 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 Agent Orange to the disco 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 Matthew Halsall. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every the Germs 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Bill Wells,
Sun Ra Arkestra,
Schoolly D,
The Raincoats,
Lindisfarne,
Wolf Eyes,
The Fortunes,
Boogie Down Productions,
Mantronix,
Cal Tjader,
A Flock of Seagulls,
U.S. Maple,
OOIOO,
Spandau Ballet,
Moss Icon,
Hashim,
Justin Hinds & The Dominoes,
Dorothy Ashby,
La Düsseldorf,
Thee Headcoats,
Wasted Youth,
Andrew Ashong & Theo Parrish,
Jacob Miller,
The Royal Family And The Poor,
Nick Fraelich,
Altered Images,
Man Parrish,
Severed Heads,
Roy Ayers Ubiquity,
The Music Machine,
Index,
Soulsonic Force,
Rakim,
Dark Day,
The Fire Engines,
The American Breed,
Qualms,
The Peanut Butter Conspiracy,
Nas,
the Swans,
Talk Talk,
Chrome,
Massinfluence,
Davy DMX,
Chris & Cosey,
Bobby Hutcherson,
The Vogues,
CMW,
Heaven 17,
Ornette Coleman,
Monks,
Ajijia Myrayebe,
Lee Hazlewood,
Carl Craig,
Cecil Taylor,
Johnny Clarke,
Von Mondo,
Lonnie Liston Smith,
The Kinks,
Pylon,
The Invisible, The Invisible, The Invisible, The Invisible.
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.