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 Dominican Republic and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 Moby Grape to the crunk kids.
I played it at the Astoria.
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 Lakeside. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Judy Mowatt,
Bizarre Inc.,
Traffic Nightmare,
Masters at Work,
Sarah Menescal,
the Normal,
John Holt,
Janne Schatter,
Scrapy,
Eurythmics,
Can,
Visage,
Fluxion,
Skaos,
K-Klass,
The Shadows of Knight,
Scan 7,
Popol Vuh,
The Sonics,
Cluster,
Orchestral Manoeuvres in the Dark,
The Motions,
the Bar-Kays,
Tomorrow,
Fort Wilson Riot,
Shoche,
Bob Dylan,
Nirvana,
The Star Department,
The Kinks,
The New Christs,
The Happenings,
Niagra,
Sexual Harrassment,
Avey Tare,
The Doors,
Blossom Toes,
Brothers Johnson,
Los Fastidios,
The Techniques,
Drexciya,
The West Coast Pop Art Experimental Band,
Porter Ricks,
Infiniti,
Anthony Braxton,
Pet Shop Boys,
Bill Wells,
Morten Harket,
Sällskapet,
Matthew Halsall,
Soft Cell,
Accadde A,
Mr. Review,
The Trojans,
Qualms,
The Cosmic Jokers,
Darondo,
Roy Ayers Ubiquity,
DJ Style,
Scratch Acid,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.