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 Andorra and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Milan 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 linndrum 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 Public Enemy to the crunk kids.
I played it at the Spitz.
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 Stereo Dub. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Thee Headcoats,
Nils Olav,
Japan,
Lee Hazlewood,
James Chance & The Contortions,
Oblivians,
Gian Franco Pienzio,
Eric Dolphy,
Kurtis Blow,
Roger Hodgson,
The Young Rascals,
Rowland S Howard / Lydia Lunch,
Quando Quango,
The Leaves,
Lower 48,
Throbbing Gristle,
June Days,
Lalann,
Boredoms,
Little Man,
Ituana,
the Swans,
Man Eating Sloth,
Delta 5,
Bobby Womack,
Tropical Tobacco,
Andrew Ashong & Theo Parrish,
The Pretty Things,
Ossler,
Vladislav Delay,
Eric B and Rakim,
Johnny Clarke,
The Wake,
Metal Thangz,
Gil Scott-Heron & Brian Jackson,
Au Pairs,
Notorious BIG live in Amsterdam,
The Blues Magoos,
Notorious Big And Bone Thugs,
Camberwell Now,
X-102,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Funky Four + One,
Ken Boothe,
L. Decosne,
Amazonics,
Nik Kershaw,
Hot Snakes,
Alison Limerick,
Television,
Black Bananas,
Colin Newman,
Bill Near,
Tres Demented,
Sight & Sound,
The Count Five,
The Angels of Light,
The Gap Band,
Rakim,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.