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 Laos and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Accra 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 Second Layer practice in a loft in South London.
I was working on the snare 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 Alice Coltrane to the grunge kids.
I played it at Cafe Wha.
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 Pantaleimon. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every This Heat 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Wire,
R.M.O.,
X-101,
Gregory Isaacs,
Joey Negro,
Altered Images,
Letta Mbulu,
MC5,
New York Dolls,
DNA,
Marmalade,
The Trojans,
Camouflage,
The Motions,
Minutemen,
Ponytail,
The Peanut Butter Conspiracy,
Q and Not U,
T.S.O.L.,
Severed Heads,
Duran Duran,
Red Lorry Yellow Lorry,
Joe Smooth,
Henry Cow,
Gil Scott Heron,
Nation of Ulysses,
Eli Mardock,
Radiopuhelimet,
Liliput,
Art Ensemble Of Chicago,
Loose Ends,
The Saints,
World's Most,
the Germs,
Todd Terry,
Althea and Donna,
Siouxsie and the Banshees,
Crash Course in Science,
The Associates,
Country Teasers,
The Blackbyrds,
Derrick May,
Lee Hazlewood,
Röyhkä ja Rättö ja Lehtisalo,
8 Eyed Spy,
Stockholm Monsters,
Al Stewart,
The Vogues,
Slave,
Kurtis Blow,
Cecil Taylor,
Dave Gahan,
Bobby Womack,
Connie Case,
Delon & Dalcan,
Roy Ayers Ubiquity,
Adolescents,
Rakim,
Susan Cadogan,
Neil Young & Crazy Horse,
Strawberry Alarm Clock,
Country Joe & The Fish,
Marine Girls,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.