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 Moldova and from Accra.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Wasted Youth to the jazz kids.
I played it at the 40 Watt.
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 Nas. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
The Smiths,
Pere Ubu,
Don Cherry,
a-ha,
Fat Boys,
Pagans,
Man Parrish,
The Chocolate Watch Band,
Inner City,
Lightning Bolt,
Joe Finger,
Orchestral Manoeuvres in the Dark,
Sugar Minott,
Sad Lovers and Giants,
Carl Craig,
John Holt,
The Stooges,
Simply Red,
Notorious Big And Bone Thugs,
U.S. Maple,
Das Ding,
Idris Muhammad,
Nils Olav,
Rotary Connection,
Röyhkä ja Rättö ja Lehtisalo,
Pulsallama,
The United States of America,
Cheater Slicks,
Silicon Teens,
Gong,
Easy Going,
Negative Approach,
Nico,
Jeff Mills,
Ash Ra Tempel,
The Last Poets,
Anakelly,
The Beau Brummels,
UT,
Minny Pops,
The Men They Couldn't Hang,
The Trojans,
Skaos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arab on Radar,
Zapp,
Eyeless In Gaza,
Massinfluence,
Minor Threat,
H. Thieme,
Boogie Down Productions,
Rod Modell,
Buzzcocks,
Hasil Adkins,
Eric B and Rakim,
Soft Cell,
Bobby Sherman,
Flash Fearless,
Bang On A Can,
The Real Kids,
Rhythim Is Rhythim,
Television,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.