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 Madagascar and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Beijing and Halifax.
I'm losing my edge to the art-school Salvador 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Nils Olav to the electroclash 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 Man Parrish. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Judy Mowatt 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Jimmy McGriff,
Black Sheep,
Wighnomy Brothers & Robag Wruhme,
The Cramps,
The Blues Magoos,
Liaisons Dangereuses,
Unwound,
Newcleus,
This Heat,
Gong,
Visage,
Ohio Players,
Youth Brigade,
Pharoah Sanders,
The Gap Band,
The Move,
Fifty Foot Hose,
The Gories,
A Flock of Seagulls,
David Bowie,
Crime,
Yaz,
Glenn Branca,
Popol Vuh,
Avey Tare,
Livin' Joy,
FM Einheit,
Richard Hell and the Voidoids,
Rakim,
Lafayette Afro Rock Band,
Schoolly D,
Dr. Dre and Snoop Doggy Dog,
The Velvet Underground,
Anakelly,
Roy Ayers,
Loose Ends,
Chris & Cosey,
Eurythmics,
Groovy Waters,
Eyeless In Gaza,
Television Personalities,
Au Pairs,
Dead Boys,
Marcia Griffiths,
Jerry Gold Smith,
Black Pus,
The Shadows of Knight,
The Martian,
The Mummies,
Bluetip,
Todd Rundgren,
The Birthday Party,
Amon Düül II,
Kango’s Stein Massive,
Interpol,
The Golliwogs,
Patti Smith,
Little Man,
Hoover,
The Litter,
Scion,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.