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 Sierra Leone and from Seoul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school Beijing 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Victims to the electroclash kids.
I played it at the Hacienda.
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 Tim Buckley. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Scrapy,
Franke,
Animal Collective,
A Flock of Seagulls,
Jeru the Damaja,
The Mighty Diamonds,
Japan,
Agent Orange,
DNA,
Blancmange,
It's A Beautiful Day,
Crispian St. Peters,
The Beau Brummels,
the Swans,
Toni Rubio,
Duran Duran,
Desert Stars,
Sonny Sharrock,
Radiopuhelimet,
Rotary Connection,
Supertramp,
Fugazi,
Chris Corsano,
Bang On A Can,
Selector Dub Narcotic,
Nirvana,
DJ Style,
Jesper Dahlbäck,
Aswad,
The Detroit Cobras,
Kas Product,
Black Sheep,
Magazine,
Deutsch Amerikanische Freundschaft,
Rahsaan Roland Kirk,
the Normal,
Severed Heads,
Charles Mingus,
Public Enemy,
Altered Images,
Cybotron,
Joy Division,
The Sound,
Todd Terry,
The Techniques,
Public Image Ltd.,
Brick,
Throbbing Gristle,
Little Man,
Groovy Waters,
London Community Gospel Choir,
Gastr Del Sol,
Brass Construction,
Nick Fraelich,
Big Daddy Kane,
The Moody Blues,
Cecil Taylor,
Thinking Fellers Union Local 282,
Thompson Twins,
Clear Light,
New Order,
Kerri Chandler,
Ultravox, Ultravox, Ultravox, Ultravox.
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.