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 United States and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Don Cherry to the jazz kids.
I played it at the Astoria.
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 Wolf Eyes. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
The Doors,
Be Bop Deluxe,
Chrome,
Junior Murvin,
Lou Christie,
The Detroit Cobras,
Gang Green,
Danielle Patucci,
Steve Hackett,
Graham Central Station,
Fela Kuti,
Stiv Bators,
Urselle,
JFA,
The Count Five,
London Community Gospel Choir,
The Last Poets,
Stetsasonic,
The Cosmic Jokers,
Albert Ayler,
A Flock of Seagulls,
Oneida,
The Tremeloes,
Young Marble Giants,
Public Image Ltd.,
Agitation Free,
Boz Scaggs,
The Buckinghams,
Bootsy Collins,
The Black Dice,
Roy Ayers Ubiquity,
Tears for Fears,
Niagra,
Byron Stingily,
Grandmaster Flash and the Furious Five,
ABC,
Barrington Levy,
The Pop Group,
Mandrill,
Ultravox,
Parry Music,
Surgeon,
Glambeats Corp.,
Kool Moe Dee,
Curtis Mayfield,
Black Bananas,
Groovy Waters,
Animal Collective,
X-Ray Spex,
Henry Cow,
Bronski Beat,
Aloha Tigers,
Circle Jerks,
Scion,
Mission of Burma,
Eric B and Rakim,
The Smoke,
The Associates,
Eve St. Jones,
Gil Scott-Heron & Brian Jackson,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.