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 Greece and from Halifax.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Theoretical Girls to the techno kids.
I played it at the Troubador.
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 Max Romeo. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every kango's stein massive 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 a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Trojans record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Boredoms,
Janne Schatter,
Anakelly,
Guru Guru,
Quando Quango,
Intrusion,
Flash Fearless,
Quantec,
Franke,
Theoretical Girls,
Pharaoh Sanders and the Fire Engines,
Half Japanese,
Ludus,
Drive Like Jehu,
Von Mondo,
Goldenarms,
Archie Shepp,
Supertramp,
The Remains,
Wolf Eyes,
John Lydon,
The Fortunes,
Angry Samoans,
Gil Scott-Heron & Brian Jackson,
The Seeds,
Agent Orange,
Icehouse,
Gregory Isaacs,
Barbara Tucker,
Notorious BIG live in Amsterdam,
The Litter,
Laurel Aitken,
Jerry Gold Smith,
Sixth Finger,
Deutsch Amerikanische Freundschaft,
Andrew Hill,
The New Christs,
Unrelated Segments,
The Busters,
Sound Behaviour,
Rowland S Howard / Lydia Lunch,
Pantaleimon,
Model 500,
Jawbox,
The Sonics,
Red Lorry Yellow Lorry,
Grandmaster Flash,
Massinfluence,
The United States of America,
Sister Nancy,
Groovy Waters,
Eyeless In Gaza,
Ituana,
Pere Ubu,
Yazoo,
Mars,
Interpol,
Electric Light Orchestra,
Sun City Girls,
Sun Ra Arkestra,
Television,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.