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 Malta and from Houston.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Detroit Cobras to the jazz kids.
I played it at the Troubador.
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 Main Source. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Cosmic Jokers,
Drive Like Jehu,
Alison Limerick,
Curtis Mayfield,
The Litter,
Faust,
Bluetip,
Sun City Girls,
Rakim,
Grauzone,
Cecil Taylor,
Bang on a Can All-Stars,
Scratch Acid,
Arab on Radar,
The United States of America,
Q65,
Pantaleimon,
Barclay James Harvest,
The Smoke,
Rhythim Is Rhythim,
The Gories,
Matthew Bourne,
Maurizio,
Blancmange,
Excepter,
Peter and Kerry,
Eve St. Jones,
Shuggie Otis,
Banda Bassotti,
Colin Newman,
Boogie Down Productions,
Super Lover Cee & Casanova Rud,
Man Parrish,
Model 500,
The Knickerbockers,
James Chance & The Contortions,
Deadbeat,
Average White Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Leaves,
X-102,
Popol Vuh,
The Smiths,
LL Cool J,
Eli Mardock,
Warren Ellis,
Justin Hinds & The Dominoes,
The Fugs,
Throbbing Gristle,
Gregory Isaacs,
Jeff Mills,
Crispian St. Peters,
The Peanut Butter Conspiracy,
Mary Jane Girls,
Adolescents,
Jacob Miller,
Jandek,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.