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 Slovenia and from Houston.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Accra 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Prince Buster to the grime kids.
I played it at Trash.
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 F. McDonald. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Unrelated Segments,
Theoretical Girls,
Chrome,
Super Lover Cee & Casanova Rud,
Hashim,
Jerry Gold Smith,
Gian Franco Pienzio,
Funkadelic,
Bang on a Can All-Stars,
Wally Richardson,
June of 44,
Blake Baxter,
New York Dolls,
The Selecter,
Radiopuhelimet,
Gregory Isaacs,
Reagan Youth,
Donny Hathaway,
Hasil Adkins,
Jandek,
Derrick May,
The Human League,
Tom Boy,
The Trojans,
Kool G Rap & DJ Polo,
Dawn Penn,
Cybotron,
The Gladiators,
Joe Smooth,
The Alarm Clocks,
Glambeats Corp.,
Ituana,
The Dirtbombs,
Aural Exciters,
Justin Hinds & The Dominoes,
James Chance & The Contortions,
This Heat,
Half Japanese,
X-Ray Spex,
Crash Course in Science,
Parry Music,
The Divine Comedy,
Henry Cow,
Flamin' Groovies,
The American Breed,
Oblivians,
Sight & Sound,
The Black Dice,
Underground Resistance,
The Walker Brothers,
Joey Negro,
the Sonics,
Big Daddy Kane,
Stereo Dub,
Scan 7,
Agent Orange,
Soft Machine,
Johnny Clarke,
Rekid,
Kurtis Blow,
Popol Vuh,
Ten City,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.