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 Liberia and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Paris and Houston.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 Q65 to the grime 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 Blake Baxter. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Wake,
Sight & Sound,
Amon Düül,
Stockholm Monsters,
Hardrive,
China Crisis,
Major Organ And The Adding Machine,
The Vogues,
Groovy Waters,
Soft Machine,
Adolescents,
The New Christs,
Todd Terry,
Oblivians,
Wire,
Underground Resistance,
Fluxion,
Aswad,
Tim Buckley,
Maleditus Sound,
Heaven 17,
Neil Young & Crazy Horse,
Cybotron,
Gregory Isaacs,
Nas,
Lightning Bolt,
Susan Cadogan,
Sound Behaviour,
Shoche,
Lee Hazlewood,
Smog,
The Doors,
T. Rex,
Mission of Burma,
the Sonics,
Roy Ayers Ubiquity,
Tom Boy,
Soulsonic Force,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
Cecil Taylor,
Unrelated Segments,
Circle Jerks,
Laurel Aitken,
Panda Bear,
John Cale,
Darondo,
Rapeman,
Unwound,
The Cramps,
Arab on Radar,
Wings,
Hasil Adkins,
Clear Light,
Rites of Spring,
Gabor Szabo,
Oneida,
Sexual Harrassment,
Section 25,
Thompson Twins,
Nils Olav,
Reagan Youth,
Yusef Lateef,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.