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 Fiji and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Calgary and Salvador.
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 theremin 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 The American Breed to the funk 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 Jimmy McGriff. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Mark Hollis,
Eyeless In Gaza,
Lebanon Hanover,
FM Einheit,
Amon Düül II,
Grauzone,
Blossom Toes,
Pantaleimon,
Grandmaster Flash and the Furious Five,
June Days,
Gil Scott-Heron & Brian Jackson,
Fugazi,
Yazoo,
Graham Central Station,
Gil Scott Heron,
Jeff Mills,
The Names,
Tomorrow,
Byron Stingily,
Orchestral Manoeuvres in the Dark,
E-Dancer,
Scientists,
Nik Kershaw,
Buzzcocks,
T. Rex,
Simply Red,
Parry Music,
The Red Krayola,
Scratch Acid,
Black Pus,
Motorama,
Max Romeo,
the Normal,
The Durutti Column,
Animal Collective,
The Fall,
Marcia Griffiths,
John Foxx,
Piero Umiliani,
The Barracudas,
Pulsallama,
Ludus,
Negative Approach,
Cymande,
The Doors,
Sun Ra Arkestra,
Derrick May,
DeepChord presents Echospace,
Pet Shop Boys,
Clear Light,
Monolake,
The Beau Brummels,
Bill Wells,
New York Dolls,
Ultra Naté,
Black Sheep,
Isaac Hayes,
Barrington Levy,
Sun Ra,
The Blackbyrds,
Suicide, Suicide, Suicide, Suicide.
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.