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 Ecuador and from Copenhagen.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Delhi 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 The Velvet Underground to the punk 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 Bobby Sherman. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Gil Scott-Heron and Jamie xx,
Barrington Levy,
Pole,
Junior Murvin,
Wasted Youth,
Nation of Ulysses,
Be Bop Deluxe,
Gabor Szabo,
Bobby Byrd,
James Chance & The Contortions,
Kool G Rap & DJ Polo,
Yellowson,
Super Lover Cee & Casanova Rud,
The Leaves,
Anakelly,
Cabaret Voltaire,
the Sonics,
E-Dancer,
Lafayette Afro Rock Band,
the Normal,
The Alarm Clocks,
Wighnomy Brothers & Robag Wruhme,
Alison Limerick,
Cal Tjader,
Oppenheimer Analysis,
L. Decosne,
Laurel Aitken,
The Zeros,
Blake Baxter,
Deepchord,
Isaac Hayes,
The Sisters of Mercy,
Flamin' Groovies,
The Trojans,
Intrusion,
Youth Brigade,
Symarip,
Amon Düül II,
The Five Americans,
Sonic Youth,
Deadbeat,
Yazoo,
In Retrospect,
Motorama,
The Monochrome Set,
The Martian,
Animal Collective,
Khruangbin,
Scrapy,
Shuggie Otis,
The Shadows of Knight,
Grandmaster Flash and the Furious Five,
Rites of Spring,
It's A Beautiful Day,
The Vogues,
Ohio Players,
The Gladiators,
Barbara Tucker,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.