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 Korea North and from Manchester.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Public Enemy 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 CMW. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Soul Sonic Force 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 '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
The Index,
Rod Modell,
Model 500,
Scott Walker,
New York Dolls,
Ultimate Spinach,
Joey Negro,
The Trojans,
Subhumans,
Massinfluence,
JFA,
Section 25,
Cecil Taylor,
The Fall,
Second Layer,
The Fortunes,
Joyce Sims,
Delta 5,
Black Pus,
Black Sheep,
The Residents,
Eric Dolphy,
The American Breed,
Reuben Wilson,
Ultramagnetic MC's,
H. Thieme,
Gichy Dan,
Oneida,
Black Bananas,
A Certain Ratio,
De La Soul & Jungle Brothers,
Fela Kuti,
the Swans,
Kerri Chandler,
Unrelated Segments,
Camron Feat. Memphis Bleek And Beenie Seigel,
Audionom,
Monolake,
Supertramp,
MC5,
Panda Bear,
June Days,
Jerry's Kids,
Andrew Ashong & Theo Parrish,
The Dirtbombs,
Essential Logic,
Scratch Acid,
Main Source,
Andrew Hill,
The Vogues,
The Motions,
The Star Department,
In Retrospect,
Sixth Finger,
Sugar Minott,
Schoolly D,
Joe Smooth,
Danielle Patucci,
Sam Rivers,
The Busters,
Saccharine Trust,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.