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 Belize and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and New York.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Gil Scott Heron to the grunge kids.
I played it at the Crocodile.
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 The Star Department. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Wally Richardson,
Danielle Patucci,
MC5,
Eddi Front,
Severed Heads,
Judy Mowatt,
John Coltrane,
DJ Style,
Rhythim Is Rhythim,
Newcleus,
Eve St. Jones,
Unwound,
Joe Smooth,
Alton Ellis,
The Barracudas,
Section 25,
Chris & Cosey,
Joe Finger,
Porter Ricks,
Desert Stars,
James Chance & The Contortions,
Silicon Teens,
Audionom,
Camberwell Now,
Malaria!,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soul II Soul,
Sad Lovers and Giants,
Drive Like Jehu,
Minny Pops,
Urselle,
Joensuu 1685,
The Slits,
Television,
The Misunderstood,
Gian Franco Pienzio,
Supertramp,
Goldenarms,
Arab on Radar,
Bush Tetras,
Monolake,
Bobby Sherman,
Joy Division,
Masters at Work,
Traffic Nightmare,
World's Most,
Roxette,
Scott Walker + Sunn O))),
Vaughan Mason & Crew,
10cc,
The Five Americans,
The Chocolate Watch Band,
Joyce Sims,
Black Moon,
Dual Sessions,
Sugar Minott,
The Cowsills,
Captain Beefheart & His Magic Band,
Roy Ayers Ubiquity,
Röyhkä ja Rättö ja Lehtisalo,
Peter Gordon & Love of Life Orchestra,
The Remains, The Remains, The Remains, The Remains.
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.