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 Mexico City.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Madrid and Accra.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Johnny Clarke to the rap 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 This Heat. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every AZ 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Frankie Knuckles,
Swell Maps,
Pylon,
Radiohead,
Notorious Big And Bone Thugs,
MDC,
The West Coast Pop Art Experimental Band,
The Trojans,
Piero Umiliani,
H. Thieme,
Sister Nancy,
Larry & the Blue Notes,
Liaisons Dangereuses,
The Gories,
CMW,
Gang of Four,
Sällskapet,
Pole,
F. McDonald,
Throbbing Gristle,
Dorothy Ashby,
Sarah Menescal,
Sun Ra Arkestra,
Ohio Players,
Thee Headcoats,
Angels of Light & Akron/Family,
Lou Reed,
The Seeds,
Mission of Burma,
Avey Tare's Slasher Flicks,
Oblivians,
Kevin Saunderson,
James Chance & The Contortions,
48th St. Collective,
Gastr Del Sol,
Interpol,
Minny Pops,
Stiv Bators,
Cabaret Voltaire,
Bauhaus,
The Mighty Diamonds,
Q and Not U,
Todd Terry,
Jerry Gold Smith,
Dual Sessions,
Soft Cell,
Camberwell Now,
Robert Hood,
Glenn Branca,
Michelle Simonal,
This Heat,
Andrew Hill,
Kerri Chandler,
Youth Brigade,
Matthew Bourne,
The Blackbyrds,
The Index,
Crooked Eye,
T.S.O.L.,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.