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 Honduras and from Taipei.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Woodstock 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 Josef K practice in a loft in Edinburgh.
I was working on the spring reverb 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 The Royal Family And The Poor to the grime kids.
I played it at the Roxy.
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 Litter. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal techno 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye 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?
Avey Tare,
Harry Pussy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dead Boys,
Bush Tetras,
The Evens,
John Holt,
Mr. Review,
T. Rex,
The Stooges,
The Move,
The Angels of Light,
Deepchord,
Eurythmics,
The New Christs,
Ten City,
Darondo,
Amon Düül II,
Symarip,
Ken Boothe,
Dawn Penn,
Sexual Harrassment,
The Detroit Cobras,
Eric B and Rakim,
Pierre Henry,
Q and Not U,
Todd Terry,
Grandmaster Flash and the Furious Five,
The Jesus and Mary Chain,
Brass Construction,
Public Enemy,
Barry Ungar,
Bang on a Can All-Stars,
Thinking Fellers Union Local 282,
Porter Ricks,
FM Einheit,
Moby Grape,
James White and The Blacks,
Quadrant,
Rakim,
The Techniques,
Joensuu 1685,
Soft Machine,
The Remains,
Dave Gahan,
Suicide,
Pere Ubu,
The Moody Blues,
Fugazi,
Make Up,
Big Daddy Kane,
Marc Almond,
The Victims,
Livin' Joy,
Bronski Beat,
The West Coast Pop Art Experimental Band,
Josef K,
Depeche Mode,
The Moleskins,
Roxy Music,
Scan 7, Scan 7, Scan 7, Scan 7.
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.