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 Albania and from Tehran.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Matthew Halsall to the jazz 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 Pop Group. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Bauhaus,
Tomorrow,
Alison Limerick,
Young Marble Giants,
Andrew Ashong & Theo Parrish,
The Doors,
Letta Mbulu,
Flamin' Groovies,
Aloha Tigers,
The Residents,
The Fire Engines,
Ultravox,
The Searchers,
Rekid,
Be Bop Deluxe,
Wasted Youth,
Pere Ubu,
Eric B and Rakim,
Quadrant,
Schoolly D,
Sonny Sharrock,
Newcleus,
Liliput,
This Heat,
Babytalk,
Lower 48,
Strawberry Alarm Clock,
Pharaoh Sanders and the Fire Engines,
Selector Dub Narcotic,
Chris & Cosey,
The Remains,
Curtis Mayfield,
Bobbi Humphrey,
Soft Cell,
Brand Nubian,
Josef K,
The Saints,
Jeff Mills,
Marvin Gaye,
Flash Fearless,
Nick Cave & The Bad Seeds,
Eric Dolphy,
the Association,
Jesper Dahlback,
Kango’s Stein Massive,
Leonard Cohen,
The Knickerbockers,
The West Coast Pop Art Experimental Band,
Nick Fraelich,
K-Klass,
The Raincoats,
Niagra,
Basic Channel,
David Axelrod,
Aural Exciters,
OOIOO,
Boogie Down Productions,
Lonnie Liston Smith,
Minnie Riperton,
Davy DMX,
Terror Squad Feat. Camron,
PIL, PIL, PIL, PIL.
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.