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 South Sudan and from Mumbai.
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 1966 to 1970.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Taipei 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 James White and The Blacks to the disco 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 The Fire Engines. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Motorama,
Barrington Levy,
B.T. Express,
The Index,
Jesper Dahlbäck,
A Certain Ratio,
Jeff Mills,
Arab on Radar,
Terry Callier,
Stetsasonic,
Rod Modell,
The Wake,
Sällskapet,
Sound Behaviour,
Danielle Patucci,
Technova,
Livin' Joy,
Lou Reed & John Cale,
Magma,
Idris Muhammad,
Eric Copeland,
Ituana,
Kurtis Blow,
The Move,
Lee Hazlewood,
John Coltrane,
Big Daddy Kane,
Rahsaan Roland Kirk,
Aloha Tigers,
The J.B.'s,
Vladislav Delay,
China Crisis,
Alton Ellis,
The Gun Club,
The Golliwogs,
Radiohead,
Royal Trux,
Orchestral Manoeuvres in the Dark,
Bang on a Can All-Stars,
The Walker Brothers,
The Smoke,
The Monochrome Set,
Kerrie Biddell,
Scratch Acid,
Soft Machine,
Blossom Toes,
Rowland S Howard / Lydia Lunch,
Franke,
Au Pairs,
Wings,
Gerry Rafferty,
Joyce Sims,
Intrusion,
Sam Rivers,
DJ Sneak,
Oppenheimer Analysis,
cv313,
Grandmaster Flash and the Furious Five,
Gil Scott-Heron and Jamie xx,
Nas, Nas, Nas, Nas.
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.