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 Ukraine and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Jesus and Mary Chain to the electroclash kids.
I played it at the 40 Watt.
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 Nico. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Albert Ayler,
Scientists,
Vaughan Mason & Crew,
Zapp,
Lyres,
Pulsallama,
A Certain Ratio,
Marvin Gaye,
The Remains,
Slave,
John Lydon,
Stockholm Monsters,
Blossom Toes,
Essential Logic,
Derrick Morgan,
Rowland S Howard / Lydia Lunch,
Soft Machine,
Echospace,
Peter and Kerry,
Parry Music,
The Fuzztones,
Lindisfarne,
Electric Prunes,
Avey Tare's Slasher Flicks,
Ultramagnetic MC's,
Country Joe & The Fish,
Rhythim Is Rhythim,
the Fania All-Stars,
Reuben Wilson,
Barry Ungar,
Q and Not U,
the Association,
Pantytec,
Scott Walker,
Jesper Dahlback,
Technova,
Maleditus Sound,
Big Daddy Kane,
Sparks,
Thompson Twins,
Inner City,
Lou Reed & Metallica,
Throbbing Gristle,
Hasil Adkins,
Scion,
Sam Rivers,
Jacob Miller,
The Invisible,
Louis and Bebe Barron,
Sun Ra Arkestra,
Bronski Beat,
Tres Demented,
Bobby Sherman,
Matthew Halsall,
Yusef Lateef,
Barbara Tucker,
K-Klass,
Electric Light Orchestra,
The Monks,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.