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 Belize and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
I'm losing my edge to the art-school New York 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Aswad to the grime kids.
I played it at CBGB's.
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 Hashim. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Scientists 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Henry Cow,
Sandy B,
Panda Bear,
The Slackers,
Harry Pussy,
Stiv Bators,
Terrestrial Tones,
Drive Like Jehu,
Peter Gordon & Love of Life Orchestra,
Black Bananas,
Amon Düül,
Siouxsie and the Banshees,
Liaisons Dangereuses,
Joensuu 1685,
Lalann,
The Red Krayola,
Sight & Sound,
Circle Jerks,
Faraquet,
Swans,
Röyhkä ja Rättö ja Lehtisalo,
Albert Ayler,
Crispian St. Peters,
Donald Byrd,
CMW,
The Mummies,
Fugazi,
Theoretical Girls,
Dead Boys,
The Zeros,
The Remains,
Kaleidoscope,
Sun Ra Arkestra,
the Human League,
The Gap Band,
Sixth Finger,
Crispy Ambulance,
Nico,
Monks,
The Dirtbombs,
Anakelly,
Sun City Girls,
Goldenarms,
Aaron Thompson,
Graham Central Station,
the Slits,
Barry Ungar,
Anthony Braxton,
Lebanon Hanover,
Traffic Nightmare,
David Axelrod,
Dual Sessions,
Lungfish,
Red Lorry Yellow Lorry,
Vainqueur,
Mantronix,
The Grass Roots,
Marshall Jefferson,
Agitation Free,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.