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 Angola and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Houston 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Lou Reed to the rap 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 Gil Scott Heron. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Mary Jane Girls 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Josef K,
Archie Shepp,
Index,
Quantec,
Con Funk Shun,
Jeru the Damaja,
Derrick Morgan,
The Sisters of Mercy,
Lebanon Hanover,
Flash Fearless,
Neil Young,
The Toasters,
Vaughan Mason & Crew,
Severed Heads,
Jeff Lynne,
Sixth Finger,
Clear Light,
Marmalade,
Black Sheep,
T.S.O.L.,
Eric Copeland,
Marvin Gaye,
Sight & Sound,
Spandau Ballet,
Kurtis Blow,
The Move,
Larry & the Blue Notes,
Cymande,
Ultimate Spinach,
Cybotron,
Radio Birdman,
Niagra,
Matthew Halsall,
Davy DMX,
Rahsaan Roland Kirk,
Lightning Bolt,
UT,
Grauzone,
Neil Young & Crazy Horse,
The Smoke,
Harmonia,
Das Ding,
Sonny Sharrock,
cv313,
Stockholm Monsters,
Shuggie Otis,
The Smiths,
Skarface,
Black Moon,
Gregory Isaacs,
New York Dolls,
Blossom Toes,
Andrew Hill,
The Star Department,
Duran Duran,
Johnny Clarke,
Popol Vuh,
Camouflage,
Patti Smith,
Monolake,
Terrestrial Tones,
L. Decosne,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.