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 Malawi and from Mumbai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Madrid 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 funk 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 Wings. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal disco 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
The Real Kids,
The Men They Couldn't Hang,
The Stooges,
Siouxsie and the Banshees,
Kool Moe Dee,
Pagans,
Flamin' Groovies,
Junior Murvin,
Andrew Hill,
Idris Muhammad,
It's A Beautiful Day,
Newcleus,
Nation of Ulysses,
Mary Jane Girls,
Chrome,
Kerri Chandler,
Minor Threat,
Scion,
World's Most,
Crime,
the Normal,
The Last Poets,
Nas,
Nico,
Joe Smooth,
Franke,
cv313,
Heavy D & The Boyz,
The Martian,
DNA,
Reuben Wilson,
Amon Düül,
The Gun Club,
Roger Hodgson,
Bronski Beat,
Angels of Light & Akron/Family,
Drexciya,
Underground Resistance,
The Blues Magoos,
Wire,
The Electric Prunes,
The Red Krayola,
Soul II Soul,
Pharoah Sanders,
Bobby Sherman,
Vainqueur,
The Index,
Symarip,
Magma,
Ultravox,
Kenny Larkin,
The Black Dice,
Bootsy's Rubber Band,
Severed Heads,
Desert Stars,
Alison Limerick,
Crispian St. Peters,
Ossler,
Half Japanese,
Kango’s Stein Massive,
The Shadows of Knight,
OOIOO, OOIOO, OOIOO, OOIOO.
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.