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 Russia and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1975.
I'm losing my edge.
To all the kids in Seoul and Paris.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Big Daddy Kane to the techno kids.
I played it at the Roxy.
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 Severed Heads. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Junior Murvin,
Derrick Morgan,
Pulsallama,
Spandau Ballet,
One Last Wish,
Fear,
Sun Ra,
The American Breed,
Kool G Rap & DJ Polo,
Can,
The Cure,
the Germs,
Marshall Jefferson,
Neu!,
The Birthday Party,
Heaven 17,
Slick Rick,
Juan Atkins,
JFA,
The New Christs,
Anthony Braxton,
Lizzy Mercier Descloux,
Eric Copeland,
June of 44,
Fifty Foot Hose,
Erasure,
Camberwell Now,
Dual Sessions,
Anakelly,
Don Cherry,
Pet Shop Boys,
The Five Americans,
Gil Scott-Heron & Brian Jackson,
Symarip,
X-101,
Super Lover Cee & Casanova Rud,
The Alarm Clocks,
Amazonics,
Piero Umiliani,
Drexciya,
Barclay James Harvest,
Tears for Fears,
Joe Smooth,
The Flesh Eaters,
Man Parrish,
Man Eating Sloth,
Fluxion,
The Barracudas,
Cymande,
Crash Course in Science,
The Slits,
Sunsets and Hearts,
Peter Gordon & Love of Life Orchestra,
Cabaret Voltaire,
Motorama,
Kayak,
Soft Machine,
Nation of Ulysses,
Kaleidoscope,
Roy Ayers Ubiquity,
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.