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 Cape Verde and from Manila.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Accra and New York.
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 güiro sounds with much patience.
I was there when Donald Fagen 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 Gladiators to the punk kids.
I played it at Cafe Wha.
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 Black Moon. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Cecil Taylor 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Terror Squad Feat. Camron,
48th St. Collective,
Mission of Burma,
Kool G Rap & DJ Polo,
Lyres,
The Star Department,
Lungfish,
Laurel Aitken,
Rhythim Is Rhythim,
Peter & Gordon,
Gil Scott-Heron & Brian Jackson,
Janne Schatter,
Minnie Riperton,
Tubeway Army,
Thompson Twins,
Moss Icon,
The Blackbyrds,
Babytalk,
The Fuzztones,
John Foxx,
the Slits,
Goldenarms,
Brass Construction,
Rosa Yemen,
The Last Poets,
Hot Snakes,
Black Bananas,
Cymande,
The Stooges,
Alton Ellis,
Crooked Eye,
Ultra Naté,
Steve Hackett,
Flipper,
Joe Finger,
Terry Callier,
Joyce Sims,
Toni Rubio,
Josef K,
The Young Rascals,
MC5,
Circle Jerks,
A Certain Ratio,
The Gories,
Zero Boys,
Don Cherry,
Susan Cadogan,
The Human League,
Maleditus Sound,
Negative Approach,
Michelle Simonal,
Rites of Spring,
Dennis Brown,
Public Enemy,
Flamin' Groovies,
The Alarm Clocks,
The Fugs,
Nils Olav,
Electric Light Orchestra,
Scientists,
The Sonics, The Sonics, The Sonics, The Sonics.
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.