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 Jordan and from Johannesburg.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Calgary 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 Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Juan Atkins to the electroclash kids.
I played it at the Hacienda.
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 Quantec. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Anthony Braxton,
Oneida,
Metal Thangz,
The Divine Comedy,
Scrapy,
Bang On A Can,
Archie Shepp,
L. Decosne,
Pylon,
Drive Like Jehu,
Byron Stingily,
Pulsallama,
Andrew Ashong & Theo Parrish,
Procol Harum,
Pagans,
The Monochrome Set,
Tomorrow,
Minutemen,
Sound Behaviour,
Todd Rundgren,
Pierre Henry,
John Holt,
Urselle,
Swans,
Camron Feat. Jay Z And Juelz,
Colin Newman,
Cheater Slicks,
Young Marble Giants,
Accadde A,
Chris & Cosey,
Gang Starr,
Barbara Tucker,
Lucky Dragons,
Harmonia,
Jacob Miller,
Fela Kuti,
Average White Band,
Peter & Gordon,
Moss Icon,
Mr. Review,
Carl Craig,
Nation of Ulysses,
Beasts of Bourbon,
Althea and Donna,
Television,
Alton Ellis,
Das Ding,
David McCallum,
Soft Cell,
The Monks,
These Immortal Souls,
Make Up,
The Black Dice,
The Happenings,
Alison Limerick,
The Kinks,
Pussy Galore,
Stockholm Monsters,
The Pop Group,
Public Enemy,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.