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 Belarus and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bologna and Columbus.
I'm losing my edge to the art-school Lyon 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 The Last Poets to the jazz 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 Q and Not U. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Lindisfarne,
the Slits,
The Move,
The Names,
Gian Franco Pienzio,
Fad Gadget,
Black Bananas,
Sonny Sharrock,
Essential Logic,
Khruangbin,
Pere Ubu,
Rapeman,
Peter Gordon & Love of Life Orchestra,
The Slits,
Echo & the Bunnymen,
The Music Machine,
Pussy Galore,
John Coltrane,
Pole,
KRS-One,
Notorious Big And Bone Thugs,
Scott Walker,
Brass Construction,
Joe Smooth,
Frankie Knuckles,
The Men They Couldn't Hang,
Section 25,
Tom Boy,
cv313,
Roger Hodgson,
The Residents,
Gary Puckett & The Union Gap,
The Victims,
Terror Squad Feat. Camron,
Aural Exciters,
Maurizio,
Darondo,
Prince Buster,
Cecil Taylor,
Major Organ And The Adding Machine,
Deadbeat,
Bobby Byrd,
Nils Olav,
Johnny Clarke,
Ultravox,
Scrapy,
Fifty Foot Hose,
Rod Modell,
Bob Dylan,
Jawbox,
Agent Orange,
Fat Boys,
Schoolly D,
Kas Product,
David Bowie,
Minutemen,
The Cowsills,
The J.B.'s,
Theoretical Girls,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.