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 Latvia and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1963 to 1972.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Fort Wilson Riot to the disco 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 David Axelrod. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your organ and bought a snare.
I hear that you and your band have sold your snare and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Heavy D & The Boyz,
Jesper Dahlbäck,
Eurythmics,
Big Daddy Kane,
Cymande,
Saccharine Trust,
The Techniques,
Bizarre Inc.,
It's A Beautiful Day,
the Fania All-Stars,
Wire,
Porter Ricks,
Marc Almond,
Electric Prunes,
Piero Umiliani,
Au Pairs,
Röyhkä ja Rättö ja Lehtisalo,
Aural Exciters,
T. Rex,
Junior Murvin,
Zapp,
Jeru the Damaja,
The Kinks,
Isaac Hayes,
Newcleus,
Pierre Henry,
Derrick May,
Radiohead,
Lizzy Mercier Descloux,
Television Personalities,
Lindisfarne,
Eden Ahbez,
Danielle Patucci,
Moss Icon,
Michelle Simonal,
Boogie Down Productions,
Sandy B,
AZ,
John Cale,
Organ,
Kango’s Stein Massive,
Rosa Yemen,
Tim Buckley,
Bang On A Can,
The Alarm Clocks,
Black Pus,
L. Decosne,
Motorama,
Guru Guru,
Cal Tjader,
Hot Snakes,
Joe Smooth,
De La Soul & Jungle Brothers,
Royal Trux,
FM Einheit,
The Slackers,
Rowland S Howard / Lydia Lunch,
Warsaw,
Black Moon,
Bill Near,
Sam Rivers,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.