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 Bahrain and from Hong Kong.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar 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 Richard Hell and the Voidoids to the crunk kids.
I played it at the Astoria.
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 Suburban Knight. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Monks 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
The Mojo Men,
Gil Scott-Heron and Jamie xx,
The Five Americans,
John Holt,
Ponytail,
Rhythm & Sound,
Scientists,
Bauhaus,
Ultravox,
Byron Stingily,
Grandmaster Flash and the Furious Five,
Gang of Four,
Jesper Dahlbäck,
Lebanon Hanover,
Y Pants,
Arab on Radar,
Country Teasers,
Wolf Eyes,
Black Flag,
Boredoms,
Maleditus Sound,
Rotary Connection,
Freddie Wadling,
Unwound,
Radiohead,
Isaac Hayes,
Skriet,
A Certain Ratio,
Donald Byrd,
The Selecter,
Don Cherry,
Joy Division,
In Retrospect,
Loose Ends,
Soulsonic Force,
Section 25,
E-Dancer,
Public Image Ltd.,
Talk Talk,
Pagans,
The Techniques,
Gregory Isaacs,
The Chocolate Watch Band,
Dark Day,
The West Coast Pop Art Experimental Band,
The Sonics,
Amazonics,
The Dirtbombs,
Kerrie Biddell,
Fear,
Ajijia Myrayebe,
James Chance & The Contortions,
Terror Squad Feat. Camron,
Terrestrial Tones,
Chrome,
Nas,
Gang Gang Dance,
Louis and Bebe Barron,
Barclay James Harvest,
Lizzy Mercier Descloux,
The Kinks, The Kinks, The Kinks, The Kinks.
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.