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 Panama and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Delhi.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Charles Mingus to the jazz kids.
I played it at Trash.
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 Last Poets. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Kayak 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
The Residents,
E-Dancer,
Interpol,
The Zeros,
Black Pus,
Bobby Hutcherson,
Alison Limerick,
Amazonics,
Archie Shepp,
Camouflage,
8 Eyed Spy,
Lightning Bolt,
Surgeon,
Mandrill,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sam Rivers,
the Swans,
Kas Product,
Mars,
Arab on Radar,
The Mummies,
The Raincoats,
Pulsallama,
Kango’s Stein Massive,
James Chance & The Contortions,
Ohio Players,
Gong,
June of 44,
10cc,
Funky Four + One,
Moby Grape,
Scott Walker,
Colin Newman,
Gil Scott-Heron and Jamie xx,
Nas,
Frankie Knuckles,
Scan 7,
ABC,
Eurythmics,
Arcadia,
Barrington Levy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dr. Dre and Snoop Doggy Dog,
cv313,
Lou Christie,
Groovy Waters,
Livin' Joy,
John Lydon,
Young Marble Giants,
Buzzcocks,
Stetsasonic,
New Age Steppers,
Bluetip,
Al Stewart,
Suburban Knight,
Dual Sessions,
Basic Channel,
Wasted Youth,
Radiohead,
Larry & the Blue Notes,
Lou Reed & John Cale,
The Fall,
Boredoms, Boredoms, Boredoms, Boredoms.
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.