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 Guatemala and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Seoul 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum 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 John Holt to the jazz kids.
I played it at Cafe Wha.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Radiohead,
Tropical Tobacco,
The Gories,
Smog,
Junior Murvin,
The Detroit Cobras,
a-ha,
Davy DMX,
June of 44,
Cecil Taylor,
the Bar-Kays,
Saccharine Trust,
The Doobie Brothers,
Jerry's Kids,
LL Cool J,
Theoretical Girls,
Main Source,
Dark Day,
Das Ding,
Angels of Light & Akron/Family,
Selector Dub Narcotic,
Lyres,
The Durutti Column,
Pulsallama,
Lou Reed & Metallica,
Monolake,
Rahsaan Roland Kirk,
Soul II Soul,
Sun City Girls,
Crooked Eye,
the Association,
Kas Product,
Juan Atkins,
Wire,
Panda Bear,
The Monochrome Set,
Idris Muhammad,
Marvin Gaye,
The Vogues,
The Dirtbombs,
Grandmaster Flash and the Furious Five,
Pharoah Sanders,
Suburban Knight,
Rowland S Howard / Lydia Lunch,
T.S.O.L.,
The Stooges,
Captain Beefheart & His Magic Band,
The Happenings,
Ice-T,
The Last Poets,
Eric Copeland,
Rhythm & Sound,
The Five Americans,
Grauzone,
Bang on a Can All-Stars,
Thee Headcoats,
Sällskapet,
Swell Maps,
China Crisis,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.