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 Laos and from Madrid.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Madrid 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 Dead Boys to the jazz 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 Easy Going. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every The Sisters of Mercy 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 '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Barry Ungar,
Faust,
Piero Umiliani,
The Fire Engines,
Soulsonic Force,
Man Eating Sloth,
Goldenarms,
Andrew Ashong & Theo Parrish,
Marc Romboy vs. Booka Shade,
Depeche Mode,
Agent Orange,
The Saints,
Cheater Slicks,
K-Klass,
Bauhaus,
Spandau Ballet,
The Blackbyrds,
Lungfish,
Harmonia,
The Golliwogs,
Erasure,
Black Pus,
The Gap Band,
Judy Mowatt,
Soul II Soul,
The Litter,
Justin Hinds & The Dominoes,
Dennis Brown,
Sällskapet,
Magazine,
Ash Ra Tempel,
R.M.O.,
Clear Light,
DNA,
Don Cherry,
Cluster,
Radiohead,
Jeff Lynne,
The Last Poets,
Bang on a Can All-Stars,
Jacques Brel,
Vladislav Delay,
Flamin' Groovies,
The Misunderstood,
Moebius,
Fela Kuti,
Panda Bear,
Rhythm & Sound,
Mark Hollis,
Bill Near,
Graham Central Station,
Throbbing Gristle,
Ituana,
Marshall Jefferson,
Soft Cell,
Hardrive,
The Durutti Column,
Bang On A Can,
Second Layer,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.