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 Montenegro and from Philadelphia.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Jawbox to the grime kids.
I played it at the 40 Watt.
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 The Sonics. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Jeff Mills 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 '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Pete Rock & C.L. Smooth,
The Mummies,
Dawn Penn,
Gabor Szabo,
T. Rex,
Crime,
Popol Vuh,
DJ Sneak,
Grandmaster Flash,
U.S. Maple,
John Foxx,
Joy Division,
JFA,
Prince Buster,
Morten Harket,
Toni Rubio,
Oblivians,
Bluetip,
Vladislav Delay,
Gong,
Interpol,
Pulsallama,
Neil Young,
Minny Pops,
Sonny Sharrock,
Erykah Badu,
Notorious BIG live in Amsterdam,
Lonnie Liston Smith,
The Black Dice,
Eurythmics,
Junior Murvin,
Bobby Byrd,
Quadrant,
Pierre Henry,
Matthew Bourne,
Fatback Band,
the Normal,
Roy Ayers,
Ash Ra Tempel,
World's Most,
Smog,
Little Man,
The Human League,
Sarah Menescal,
Talk Talk,
Flamin' Groovies,
The Dead C,
Juan Atkins,
Donald Byrd,
Kerrie Biddell,
Thinking Fellers Union Local 282,
Peter & Gordon,
Godley & Creme,
Siouxsie and the Banshees,
Ronan,
Warsaw,
Dave Gahan,
Bobby Hutcherson,
Jerry's Kids,
Crispian St. Peters,
Groovy Waters,
The Monochrome Set,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.