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 Bangladesh and from Calgary.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 marimba 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 Barclay James Harvest to the jazz 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 Cluster. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal rock 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reagan Youth,
The Count Five,
Ultramagnetic MC's,
Black Sheep,
Oneida,
Grey Daturas,
Average White Band,
a-ha,
Schoolly D,
Deutsch Amerikanische Freundschaft,
Skriet,
The Fortunes,
Barrington Levy,
Art Ensemble Of Chicago,
Piero Umiliani,
Chris & Cosey,
MDC,
DJ Sneak,
Judy Mowatt,
Saccharine Trust,
Roy Ayers,
Soft Machine,
Banda Bassotti,
Avey Tare,
Juan Atkins,
Shuggie Otis,
The Chocolate Watch Band,
Avey Tare's Slasher Flicks,
Khruangbin,
Jandek,
Yazoo,
Clear Light,
Aswad,
Pere Ubu,
The Royal Family And The Poor,
Janne Schatter,
The Standells,
Pussy Galore,
This Heat,
The Golliwogs,
Bob Dylan,
MC5,
Iggy Pop,
The Electric Prunes,
John Lydon,
Dave Gahan,
Popol Vuh,
Spoonie Gee,
The Remains,
the Fania All-Stars,
Depeche Mode,
D'Angelo,
World's Most,
cv313,
Kauko Röyhkä ja Narttu,
Donald Byrd,
Hashim,
The Searchers,
Minor Threat,
Richard Hell and the Voidoids,
PIL, PIL, PIL, PIL.
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.