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 Mauritius and from Taipei.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 Wire practice in a loft in Watford.
I was working on the marimba 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 Aaron Thompson to the techno kids.
I played it at the Astoria.
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 Beasts of Bourbon. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Black Flag 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Essential Logic,
Brass Construction,
Vainqueur,
Kool Moe Dee,
Babytalk,
Neil Young & Crazy Horse,
Darondo,
This Heat,
Gastr Del Sol,
The Walker Brothers,
Nirvana,
Mandrill,
Ash Ra Tempel,
Maurizio,
Gang Starr,
The Remains,
The Invisible,
The Dave Clark Five,
Joy Division,
D'Angelo,
Roger Hodgson,
Grandmaster Flash and the Furious Five,
Eyeless In Gaza,
Half Japanese,
Crash Course in Science,
Althea and Donna,
The Grass Roots,
Alphaville,
Scion,
Peter Gordon & Love of Life Orchestra,
Gregory Isaacs,
The Associates,
Pere Ubu,
Echospace,
Cal Tjader,
The Moleskins,
Television Personalities,
Heaven 17,
Pole,
Lower 48,
Massinfluence,
Quando Quango,
The Martian,
Young Marble Giants,
Jacques Brel,
Goldenarms,
Scott Walker + Sunn O))),
Mad Mike,
Joey Negro,
Fear,
The Cramps,
Al Stewart,
The Techniques,
Funky Four + One,
Kaleidoscope,
Gian Franco Pienzio,
Flamin' Groovies,
Electric Prunes,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.