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 Somalia and from Hong Kong.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Houston 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 David Axelrod to the techno 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 Sonic Youth. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Malaria!,
Shoche,
Lightning Bolt,
Connie Case,
Bob Dylan,
MC5,
Cheater Slicks,
The Mojo Men,
John Holt,
Kango’s Stein Massive,
Alison Limerick,
The Evens,
Red Lorry Yellow Lorry,
Kenny Larkin,
Lindisfarne,
Pharaoh Sanders and the Fire Engines,
Josef K,
In Retrospect,
The Walker Brothers,
Lucky Dragons,
Todd Rundgren,
Art Ensemble Of Chicago,
Bill Wells,
Sonny Sharrock,
Mad Mike,
CMW,
Justin Hinds & The Dominoes,
The Durutti Column,
Pharoah Sanders,
Second Layer,
Rakim,
Gang Starr,
Manfred Mann's Earth Band,
The Martian,
Black Pus,
The Mummies,
Todd Terry,
Rod Modell,
Idris Muhammad,
Carl Craig,
Marc Romboy vs. Booka Shade,
Desert Stars,
Patti Smith,
Deadbeat,
Aloha Tigers,
James Chance & The Contortions,
Harry Pussy,
Y Pants,
Blake Baxter,
Parry Music,
Yellowson,
Crooked Eye,
Liaisons Dangereuses,
Tom Boy,
Index,
John Foxx,
the Swans,
Deepchord,
Gichy Dan,
Major Organ And The Adding Machine,
Roy Ayers,
David Bowie,
Sexual Harrassment,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.