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 Eritrea and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1964 to 1976.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
I'm losing my edge to the art-school Salvador 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the organ 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 Nils Olav to the disco 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 Alton Ellis. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Wally Richardson 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Sixth Finger,
Ten City,
Brass Construction,
Bauhaus,
Slave,
Strawberry Alarm Clock,
Sound Behaviour,
Eric B and Rakim,
Ralphi Rosario,
Rotary Connection,
The Seeds,
The Velvet Underground,
James Chance & The Contortions,
Thee Headcoats,
Los Fastidios,
John Coltrane,
Lightning Bolt,
Robert Hood,
Outsiders,
Echospace,
Idris Muhammad,
UT,
Cameo,
Smog,
Ash Ra Tempel,
Quadrant,
Fatback Band,
Fluxion,
Art Ensemble Of Chicago,
Sandy B,
Johnny Osbourne,
Black Sheep,
Barrington Levy,
Mission of Burma,
John Foxx,
Yusef Lateef,
the Slits,
Kool G Rap & DJ Polo,
Clear Light,
Peter Gordon & Love of Life Orchestra,
Niagra,
Franke,
The West Coast Pop Art Experimental Band,
Easy Going,
Eden Ahbez,
Guru Guru,
Quando Quango,
Ohio Players,
Urselle,
Peter and Kerry,
The Mummies,
The Pop Group,
Rowland S Howard / Lydia Lunch,
Johnny Clarke,
The Real Kids,
Animal Collective,
Drive Like Jehu,
Skarface,
Soul II Soul,
Maleditus Sound,
Howard Jones,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.