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 Laos and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Madrid 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb 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 Fatback Band to the rap 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 Little Man. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Marc Romboy vs. Booka Shade,
The Beau Brummels,
The Electric Prunes,
Lalo Schifrin,
D'Angelo,
The Martian,
Au Pairs,
Blossom Toes,
Terrestrial Tones,
MDC,
Urselle,
The Walker Brothers,
Neil Young & Crazy Horse,
Dark Day,
Fluxion,
Letta Mbulu,
Robert Wyatt,
Gary Puckett & The Union Gap,
Joe Smooth,
Porter Ricks,
Rufus Thomas,
Terry Callier,
Soul Sonic Force,
Clear Light,
ABC,
Country Joe & The Fish,
Prince Buster,
Frankie Knuckles,
cv313,
Ornette Coleman,
Rhythm & Sound,
Steve Hackett,
Ten City,
Brothers Johnson,
Ralphi Rosario,
Ohio Players,
Gian Franco Pienzio,
Roxette,
JFA,
Traffic Nightmare,
Iggy Pop,
The Detroit Cobras,
Lee Hazlewood,
Cabaret Voltaire,
The Cowsills,
Amon Düül,
The Kinks,
Kool G Rap & DJ Polo,
Aloha Tigers,
Bill Wells,
The Birthday Party,
Ultravox,
Sun City Girls,
Das Ding,
Camberwell Now,
Wolf Eyes,
Fifty Foot Hose,
The Searchers,
Kango’s Stein Massive,
John Lydon,
Supertramp,
Jerry's Kids,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.