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 Congo and from Mexico City.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 The Doors to the techno kids.
I played it at CBGB's.
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 Flamin' Groovies. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Vladislav Delay 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Johnny Clarke,
One Last Wish,
Kango’s Stein Massive,
Sly & The Family Stone,
The Chocolate Watch Band,
Eli Mardock,
Babytalk,
Saccharine Trust,
Sonic Youth,
MDC,
The Grass Roots,
Crash Course in Science,
Roxy Music,
The Electric Prunes,
Robert Wyatt,
Yazoo,
Glenn Branca,
Thee Headcoats,
Lafayette Afro Rock Band,
Kayak,
De La Soul & Jungle Brothers,
Kool G Rap & DJ Polo,
Althea and Donna,
Darondo,
The Cure,
Ronan,
Harpers Bizarre,
The Mojo Men,
Rahsaan Roland Kirk,
Major Organ And The Adding Machine,
Black Sheep,
Organ,
X-Ray Spex,
Minor Threat,
Piero Umiliani,
Neu!,
CMW,
Soulsonic Force,
John Lydon,
Magazine,
The Pop Group,
DNA,
Eyeless In Gaza,
The Fuzztones,
Iggy Pop,
Throbbing Gristle,
Deutsch Amerikanische Freundschaft,
Agitation Free,
Joe Smooth,
Masters at Work,
Idris Muhammad,
Index,
Gil Scott-Heron & Brian Jackson,
Crime,
The Pretty Things,
Black Flag,
Fifty Foot Hose,
Ornette Coleman,
Freddie Wadling,
Mark Hollis,
Flipper,
Lalo Schifrin,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.