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 Senegal and from Tokyo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Seoul 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 harpsichord 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 The Gories to the electroclash 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal crunk 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 a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
ABC,
Chris Corsano,
Fad Gadget,
The Motions,
The Alarm Clocks,
Alice Coltrane,
Aswad,
8 Eyed Spy,
Shoche,
Radiopuhelimet,
The Happenings,
Cal Tjader,
Boogie Down Productions,
New York Dolls,
The Invisible,
Jawbox,
CMW,
Charles Mingus,
Byron Stingily,
Fifty Foot Hose,
Cecil Taylor,
Peter & Gordon,
Mark Hollis,
Procol Harum,
The Slackers,
Banda Bassotti,
Cybotron,
Gary Puckett & The Union Gap,
Audionom,
Albert Ayler,
The United States of America,
Tubeway Army,
A Certain Ratio,
Iggy Pop,
The Saints,
D'Angelo,
Minutemen,
Nils Olav,
Clear Light,
the Human League,
Wally Richardson,
Mo-Dettes,
Junior Murvin,
World's Most,
Essential Logic,
Negative Approach,
Super Lover Cee & Casanova Rud,
Wighnomy Brothers & Robag Wruhme,
Minny Pops,
Circle Jerks,
Pagans,
Stereo Dub,
Vladislav Delay,
Oppenheimer Analysis,
Brothers Johnson,
The Flesh Eaters,
Eric Dolphy,
The Sonics,
Gastr Del Sol,
Althea and Donna,
Rowland S Howard / Lydia Lunch,
Hasil Adkins,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.