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 Australia and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Mumbai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Ajijia Myrayebe 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 Erykah Badu. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Yusef Lateef,
Hot Snakes,
Vainqueur,
Can,
The Flesh Eaters,
The Count Five,
Cecil Taylor,
The Red Krayola,
Grey Daturas,
Black Sheep,
Traffic Nightmare,
Alphaville,
Kauko Röyhkä ja Narttu,
Susan Cadogan,
Yazoo,
The Seeds,
Neu!,
The Index,
Crispian St. Peters,
Bobby Hutcherson,
U.S. Maple,
The Cramps,
Arcadia,
Barrington Levy,
PIL,
Brand Nubian,
Zero Boys,
Piero Umiliani,
Selector Dub Narcotic,
Wings,
Fugazi,
David Axelrod,
The Fortunes,
New Age Steppers,
X-Ray Spex,
Essential Logic,
Aswad,
Lou Christie,
Lizzy Mercier Descloux,
Simply Red,
Eric Dolphy,
Jawbox,
Intrusion,
Urselle,
Franke,
Angry Samoans,
Dorothy Ashby,
Crispy Ambulance,
The Tremeloes,
Kayak,
Lonnie Liston Smith,
Sixth Finger,
Accadde A,
Minutemen,
The Happenings,
Q65,
Robert Hood,
Ohio Players,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.