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 Kiribati and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Calgary 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 marimba 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 Ronnie Foster to the rap kids.
I played it at Trash.
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 Sound Behaviour. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Alice Coltrane,
Agitation Free,
Eric Copeland,
Tears for Fears,
Circle Jerks,
Unwound,
Slick Rick,
Newcleus,
The Alarm Clocks,
Fear,
Half Japanese,
Ronan,
Laurel Aitken,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Slits,
Al Stewart,
John Coltrane,
Steve Hackett,
Connie Case,
Major Organ And The Adding Machine,
Procol Harum,
Dead Boys,
Gang of Four,
Scrapy,
Letta Mbulu,
Avey Tare & Kría Brekkan,
New Age Steppers,
Kango’s Stein Massive,
Theoretical Girls,
Popol Vuh,
Audionom,
Andrew Hill,
Johnny Clarke,
Alton Ellis,
Hoover,
Toni Rubio,
Jandek,
Malaria!,
Siglo XX,
Todd Rundgren,
Tom Boy,
Bronski Beat,
Marc Romboy vs. Booka Shade,
Eden Ahbez,
Severed Heads,
Lyres,
Nico,
The Dave Clark Five,
The Sisters of Mercy,
Idris Muhammad,
48th St. Collective,
Red Lorry Yellow Lorry,
Grandmaster Flash and the Furious Five,
Hot Snakes,
The Shadows of Knight,
Bad Manners,
Glambeats Corp.,
Panda Bear,
Maurizio,
Sonny Sharrock,
Cal Tjader,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.