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 Papua New Guinea and from Paris.
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 1969 to 1976.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Woodstock 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 snare 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 Thompson Twins to the grunge kids.
I played it at CBGB's.
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 X-Ray Spex. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
The Gap Band,
Bang On A Can,
Kool G Rap & DJ Polo,
Dave Gahan,
Shuggie Otis,
Stetsasonic,
Sister Nancy,
Moss Icon,
Cluster,
The Cosmic Jokers,
Tommy Roe,
John Lydon,
R.M.O.,
Jeff Mills,
Dual Sessions,
Camberwell Now,
Mo-Dettes,
Groovy Waters,
Barclay James Harvest,
Yaz,
the Fania All-Stars,
The Golliwogs,
China Crisis,
Pantaleimon,
Warsaw,
Altered Images,
Justin Hinds & The Dominoes,
Johnny Osbourne,
Slave,
JFA,
Eurythmics,
Dead Boys,
New York Dolls,
Clear Light,
The Cramps,
A Flock of Seagulls,
The Birthday Party,
Connie Case,
The Monks,
The Busters,
Charles Mingus,
Roxy Music,
Sarah Menescal,
Saccharine Trust,
Be Bop Deluxe,
June Days,
Junior Murvin,
The Cowsills,
Rhythm & Sound,
Soulsonic Force,
Tomorrow,
Pagans,
The Remains,
cv313,
Aaron Thompson,
Robert Wyatt,
Lightning Bolt,
Television Personalities,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.