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 Comoros and from Jakarta.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Hong Kong 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 1978 at the first Visage practice in a loft in London.
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 Electric Prunes to the jazz kids.
I played it at the Hacienda.
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 Newcleus. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Jeru the Damaja,
Minnie Riperton,
R.M.O.,
Sunsets and Hearts,
Bob Dylan,
Pulsallama,
John Lydon,
The Tremeloes,
Subhumans,
Gong,
Rotary Connection,
Stockholm Monsters,
Sun City Girls,
Mark Hollis,
Wings,
Manfred Mann's Earth Band,
Minor Threat,
Roy Ayers,
Con Funk Shun,
Flamin' Groovies,
Marshall Jefferson,
The Moody Blues,
Bill Wells,
AZ,
The Trojans,
Eric Dolphy,
Gregory Isaacs,
Pussy Galore,
The Fortunes,
Funky Four + One,
Camouflage,
Bauhaus,
Super Lover Cee & Casanova Rud,
Frankie Knuckles,
Grey Daturas,
The Blackbyrds,
The Raincoats,
Bang On A Can,
The Dave Clark Five,
Buzzcocks,
Royal Trux,
Youth Brigade,
Röyhkä ja Rättö ja Lehtisalo,
Notorious Big And Bone Thugs,
The West Coast Pop Art Experimental Band,
Ajijia Myrayebe,
Red Lorry Yellow Lorry,
The Move,
Glambeats Corp.,
The J.B.'s,
Janne Schatter,
Visionaries,LMNO, T- Love & Iriscience,
FM Einheit,
Justin Hinds & The Dominoes,
Terry Callier,
Stereo Dub,
Wally Richardson,
Ralphi Rosario,
The Sound,
Surgeon,
The Fugs,
Japan, Japan, Japan, Japan.
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.