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 El Salvador and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Anthony Braxton to the jazz 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 Tim Buckley. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every The Black Dice 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Y Pants,
Gang Green,
T.S.O.L.,
Red Lorry Yellow Lorry,
Connie Case,
Sex Pistols,
Heavy D & The Boyz,
Isaac Hayes,
Shoche,
Kings Of Tomorrow,
Buzzcocks,
The Kinks,
The Beau Brummels,
The Gladiators,
Dead Boys,
Mad Mike,
The Litter,
Graham Central Station,
Barbara Tucker,
Arab on Radar,
The Tremeloes,
Brass Construction,
Das Ding,
Ultramagnetic MC's,
June Days,
Crispian St. Peters,
Richard Hell and the Voidoids,
Radiohead,
The Happenings,
Sly & The Family Stone,
Can,
Deakin,
Slave,
Essential Logic,
Little Man,
Camberwell Now,
Siouxsie and the Banshees,
Wolf Eyes,
Dual Sessions,
Bobby Womack,
Art Ensemble Of Chicago,
Charles Mingus,
Funkadelic,
Kango’s Stein Massive,
Bill Wells,
Ralphi Rosario,
Skaos,
Shuggie Otis,
Terror Squad Feat. Camron,
Aaron Thompson,
Crispy Ambulance,
Eddi Front,
The American Breed,
Panda Bear,
Parry Music,
Glenn Branca,
Albert Ayler,
Alice Coltrane,
Andrew Hill,
Ohio Players,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.