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 Tajikistan and from Bremen.
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 1970.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Bremen 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 snare 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 10cc to the grime kids.
I played it at the Crocodile.
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 Girls At Our Best!. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Cluster 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
DNA,
Pylon,
Malaria!,
Amon Düül II,
Sex Pistols,
the Fania All-Stars,
The Star Department,
Unwound,
The Fire Engines,
Pierre Henry,
The Fortunes,
Yellowson,
Cluster,
Flash Fearless,
Sarah Menescal,
Fort Wilson Riot,
Donny Hathaway,
Visionaries,LMNO, T- Love & Iriscience,
The Victims,
Echospace,
Basic Channel,
Silicon Teens,
The Monochrome Set,
Scott Walker,
Avey Tare's Slasher Flicks,
The Pretty Things,
Television,
Duran Duran,
Junior Murvin,
Joe Finger,
John Lydon,
Gian Franco Pienzio,
Lonnie Liston Smith,
The Offenders,
Brothers Johnson,
The Kinks,
Pharaoh Sanders and the Fire Engines,
Amazonics,
Sandy B,
Lee Hazlewood,
It's A Beautiful Day,
The Gun Club,
a-ha,
Anakelly,
MC5,
Glambeats Corp.,
The Vogues,
Avey Tare & Kría Brekkan,
The Beau Brummels,
Technova,
Tears for Fears,
The Slits,
Iggy Pop,
Porter Ricks,
Agent Orange,
Curtis Mayfield,
The Busters,
the Association,
The Moody Blues,
MDC,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.