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 Gambia and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1978.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet 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 Lafayette Afro Rock Band to the electroclash 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 Bill Wells. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Man Eating Sloth 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Ralphi Rosario,
Scan 7,
Liliput,
Arcadia,
Robert Hood,
the Swans,
Ituana,
Camberwell Now,
Peter and Kerry,
Excepter,
Crispy Ambulance,
Carl Craig,
Neil Young & Crazy Horse,
Gabor Szabo,
Grandmaster Flash and the Furious Five,
the Soft Cell,
Half Japanese,
Wighnomy Brothers & Robag Wruhme,
Lyres,
Nico,
Vladislav Delay,
Icehouse,
Nik Kershaw,
Tears for Fears,
Spoonie Gee,
Malaria!,
Mary Jane Girls,
Röyhkä ja Rättö ja Lehtisalo,
The Modern Lovers,
Gary Puckett & The Union Gap,
New Order,
Visionaries,LMNO, T- Love & Iriscience,
Jawbox,
Michelle Simonal,
June Days,
Fifty Foot Hose,
The Gories,
Severed Heads,
Model 500,
Rufus Thomas,
The Flesh Eaters,
MC5,
F. McDonald,
Hoover,
Steve Hackett,
Sad Lovers and Giants,
Eli Mardock,
Popol Vuh,
New Age Steppers,
Flash Fearless,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Fire Engines,
Ice-T,
Mandrill,
The Associates,
Howard Jones,
Surgeon,
The Dead C,
Warsaw,
John Lydon, John Lydon, John Lydon, John Lydon.
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.