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 Senegal and from Jakarta.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Barry Ungar to the electroclash 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 Robert Hood. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Boogie Down Productions,
Drive Like Jehu,
John Foxx,
Fluxion,
Grandmaster Flash and the Furious Five,
Bobbi Humphrey,
Big Daddy Kane,
David Bowie,
Angry Samoans,
Jandek,
Q and Not U,
Sly & The Family Stone,
DNA,
Selector Dub Narcotic,
Theoretical Girls,
Soft Cell,
Carl Craig,
The Names,
Nirvana,
Jesper Dahlback,
Fat Boys,
DeepChord presents Echospace,
Gichy Dan,
Mary Jane Girls,
Grey Daturas,
a-ha,
Simply Red,
Skriet,
Dark Day,
Echospace,
Jacob Miller,
Bizarre Inc.,
B.T. Express,
Todd Rundgren,
Qualms,
Graham Central Station,
The Skatalites,
Youth Brigade,
Franke,
Marshall Jefferson,
The American Breed,
X-Ray Spex,
Henry Cow,
The Doors,
the Slits,
June of 44,
The Leaves,
Faraquet,
Pierre Henry,
Mission of Burma,
Cybotron,
The Smoke,
These Immortal Souls,
Suburban Knight,
Gil Scott Heron,
Rufus Thomas,
Minor Threat,
La Düsseldorf,
Marvin Gaye,
The Pretty Things,
Funkadelic,
Freddie Wadling,
the Swans,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.