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 Uzbekistan and from Shanghai.
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 1974.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Moby Grape 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 Sister Nancy. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Sexual Harrassment,
Dual Sessions,
Electric Light Orchestra,
The Selecter,
Nik Kershaw,
Qualms,
Malaria!,
the Association,
Japan,
FM Einheit,
Terry Callier,
Laurel Aitken,
Scratch Acid,
Q65,
The Fall,
Eddi Front,
Tropical Tobacco,
Faust,
Boredoms,
Bill Near,
Glambeats Corp.,
The Happenings,
Grandmaster Flash,
Siouxsie and the Banshees,
Jandek,
Al Stewart,
Agitation Free,
Brick,
Marvin Gaye,
The Doors,
Suicide,
Los Fastidios,
Rahsaan Roland Kirk,
Notorious BIG live in Amsterdam,
Severed Heads,
Echospace,
Monks,
X-101,
Bang On A Can,
Slave,
Jesper Dahlback,
Notorious Big And Bone Thugs,
Rhythm & Sound,
The Fuzztones,
a-ha,
Lou Christie,
Cabaret Voltaire,
The Associates,
Ultramagnetic MC's,
Stiv Bators,
New York Dolls,
Big Daddy Kane,
Subhumans,
Hot Snakes,
Bobbi Humphrey,
Bluetip,
Gregory Isaacs,
Sister Nancy,
The Doobie Brothers,
OOIOO, OOIOO, OOIOO, OOIOO.
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.