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 Mongolia and from Milan.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Minny Pops to the jazz kids.
I played it at the Roxy.
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 Subhumans. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every The Young Rascals record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Crash Course in Science,
Model 500,
Glambeats Corp.,
Trumans Water,
Pierre Henry,
Peter & Gordon,
Brick,
Goldenarms,
Outsiders,
The Monks,
The Misunderstood,
John Cale,
Black Flag,
Roger Hodgson,
Depeche Mode,
Q and Not U,
Jeff Mills,
Cymande,
Flamin' Groovies,
Grandmaster Flash and the Furious Five,
Main Source,
Drive Like Jehu,
Scrapy,
The Dead C,
Soul Sonic Force,
Hasil Adkins,
The Men They Couldn't Hang,
Black Moon,
Arcadia,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sex Pistols,
The Raincoats,
Jawbox,
Tres Demented,
Gang Gang Dance,
Country Joe & The Fish,
Aswad,
Pulsallama,
The Five Americans,
Donald Byrd,
Ituana,
Camouflage,
Davy DMX,
Black Pus,
The Trojans,
The Evens,
Boredoms,
Jesper Dahlbäck,
the Bar-Kays,
Wire,
Bluetip,
Japan,
Circle Jerks,
Section 25,
X-Ray Spex,
Ken Boothe,
The Chocolate Watch Band,
Severed Heads,
Fatback Band,
Sun City Girls,
Robert Hood,
Ornette Coleman,
Kings Of Tomorrow,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.