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 Haiti and from Johannesburg.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lyon and Lyon.
I'm losing my edge to the art-school Stockholm 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 mellotron 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 Amon Düül to the grime kids.
I played it at the Spitz.
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 Y Pants. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
The Stooges,
Art Ensemble Of Chicago,
Lucky Dragons,
Gang of Four,
Gil Scott Heron,
Black Moon,
LL Cool J,
Audionom,
Richard Hell and the Voidoids,
Judy Mowatt,
KRS-One,
Drive Like Jehu,
Ken Boothe,
Panda Bear,
Archie Shepp,
Tomorrow,
Sunsets and Hearts,
Pole,
Crispian St. Peters,
DJ Style,
Wally Richardson,
Intrusion,
Gian Franco Pienzio,
Pulsallama,
the Slits,
Fela Kuti,
Depeche Mode,
Stereo Dub,
Thinking Fellers Union Local 282,
The West Coast Pop Art Experimental Band,
Dorothy Ashby,
Kool G Rap & DJ Polo,
Graham Central Station,
Deepchord,
Anthony Braxton,
Suburban Knight,
Lee Hazlewood,
Skarface,
Roger Hodgson,
La Düsseldorf,
Au Pairs,
Notorious Big And Bone Thugs,
Sonny Sharrock,
Terrestrial Tones,
Lafayette Afro Rock Band,
Eddi Front,
Black Bananas,
Marshall Jefferson,
Symarip,
Danielle Patucci,
Andrew Ashong & Theo Parrish,
The Walker Brothers,
Avey Tare's Slasher Flicks,
E-Dancer,
Grandmaster Flash,
The Move,
Dave Gahan,
Eric Copeland,
Angels of Light & Akron/Family,
The Peanut Butter Conspiracy,
The Toasters,
Throbbing Gristle,
June Days, June Days, June Days, June Days.
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.