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 Albania and from Johannesburg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school New York 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare 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 Super Lover Cee & Casanova Rud to the jazz 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 Porter Ricks. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Sällskapet 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 '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Barclay James Harvest,
Crime,
Moss Icon,
Fela Kuti,
Dorothy Ashby,
Make Up,
the Normal,
One Last Wish,
Bush Tetras,
Arthur Verocai,
Royal Trux,
The Techniques,
Reagan Youth,
Morten Harket,
Neu!,
Gabor Szabo,
Kenny Larkin,
Robert Görl,
Ultimate Spinach,
Second Layer,
Sunsets and Hearts,
Mo-Dettes,
Lou Reed & Metallica,
Thinking Fellers Union Local 282,
Saccharine Trust,
Siouxsie and the Banshees,
Ronnie Foster,
Nation of Ulysses,
Isaac Hayes,
Unwound,
Maleditus Sound,
Eve St. Jones,
Procol Harum,
The Motions,
Chrome,
Carl Craig,
Rakim,
Delon & Dalcan,
Bad Manners,
Bob Dylan,
Soul II Soul,
Television Personalities,
Cybotron,
X-102,
Dave Gahan,
Brass Construction,
The Doors,
The Selecter,
Kevin Saunderson,
The Move,
Hardrive,
Young Marble Giants,
Siglo XX,
Kool G Rap & DJ Polo,
Teenage Jesus and the Jerks,
8 Eyed Spy,
New York Dolls,
Cheater Slicks,
Matthew Halsall,
Angels of Light & Akron/Family,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.