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 Guatemala and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1975.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Taipei 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 Lou Reed 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 The Evens to the rock 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 UT. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Joe Smooth,
Marmalade,
Tubeway Army,
Buzzcocks,
the Fania All-Stars,
The Vogues,
Pete Rock & C.L. Smooth,
The Martian,
Deutsch Amerikanische Freundschaft,
Nation of Ulysses,
Angry Samoans,
Big Daddy Kane,
Shoche,
Spandau Ballet,
Derrick Morgan,
Gil Scott-Heron & Brian Jackson,
Warren Ellis,
Be Bop Deluxe,
The Trojans,
Eric Dolphy,
Dawn Penn,
Lakeside,
Gang Green,
Johnny Clarke,
Piero Umiliani,
Bauhaus,
Sun City Girls,
David Axelrod,
the Swans,
Archie Shepp,
Graham Central Station,
Liaisons Dangereuses,
Ossler,
Anakelly,
Funky Four + One,
Leonard Cohen,
Red Lorry Yellow Lorry,
Toni Rubio,
Pet Shop Boys,
Aural Exciters,
Super Lover Cee & Casanova Rud,
Bob Dylan,
The Searchers,
Soulsonic Force,
The Red Krayola,
Albert Ayler,
Gian Franco Pienzio,
Lungfish,
Soul II Soul,
Arthur Verocai,
La Düsseldorf,
Flamin' Groovies,
Brothers Johnson,
James White and The Blacks,
PIL,
Television Personalities,
The Cramps,
The Sound,
June of 44,
Gil Scott-Heron and Jamie xx,
Delta 5,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.