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 Malaysia and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 güiro 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 Mojo Men to the rap 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 The Real Kids. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Franke 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Maleditus Sound,
Severed Heads,
Boredoms,
Accadde A,
Tommy Roe,
Barclay James Harvest,
Eric Dolphy,
Sam Rivers,
Bill Near,
Gil Scott Heron,
La Düsseldorf,
The Victims,
The Alarm Clocks,
Leonard Cohen,
Scion,
The Gap Band,
Amon Düül II,
Larry & the Blue Notes,
Bush Tetras,
The Blackbyrds,
Cecil Taylor,
Qualms,
Scan 7,
The Men They Couldn't Hang,
Bob Dylan,
Warren Ellis,
Half Japanese,
The Toasters,
Wally Richardson,
Bill Wells,
the Normal,
Guru Guru,
Kevin Saunderson,
The Mighty Diamonds,
Lee Hazlewood,
The Index,
Oneida,
T. Rex,
Eyeless In Gaza,
Sound Behaviour,
Bobby Sherman,
The Cowsills,
The J.B.'s,
Subhumans,
Don Cherry,
Visage,
The Zeros,
The Monks,
Yellowson,
Dr. Dre and Snoop Doggy Dog,
8 Eyed Spy,
Moby Grape,
Morten Harket,
Bobbi Humphrey,
Gil Scott-Heron and Jamie xx,
Albert Ayler,
Roxy Music,
Thee Headcoats,
The Gories, The Gories, The Gories, The Gories.
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.