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 Grenada and from Glasgow.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Tehran 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Black Sheep to the techno kids.
I played it at Trash.
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 F. McDonald. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
E-Dancer,
Monolake,
PIL,
The Monochrome Set,
The Last Poets,
Nirvana,
Skriet,
Oblivians,
Yazoo,
Pantytec,
Funky Four + One,
Sun Ra,
Orchestral Manoeuvres in the Dark,
Monks,
Arab on Radar,
Amazonics,
Second Layer,
the Bar-Kays,
L. Decosne,
The Count Five,
Lizzy Mercier Descloux,
The Misunderstood,
Sight & Sound,
Stetsasonic,
Babytalk,
Lightning Bolt,
Minutemen,
Avey Tare's Slasher Flicks,
Black Moon,
Quantec,
Icehouse,
T. Rex,
Banda Bassotti,
Super Lover Cee & Casanova Rud,
The United States of America,
Max Romeo,
Mary Jane Girls,
Minny Pops,
Radiohead,
Dave Gahan,
Steve Hackett,
The Fire Engines,
Moebius,
David McCallum,
Major Organ And The Adding Machine,
Gang Green,
Blake Baxter,
The Detroit Cobras,
Jesper Dahlbäck,
Quadrant,
Black Flag,
Aural Exciters,
Dead Boys,
Intrusion,
The Zeros,
Ultimate Spinach,
Yaz,
F. McDonald,
Man Eating Sloth,
MDC,
Soul Sonic Force,
Main Source, Main Source, Main Source, Main Source.
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.