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 France and from Columbus.
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 1961 to 1972.
I'm losing my edge.
To all the kids in London and Delhi.
I'm losing my edge to the art-school Hong Kong 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Barrington Levy to the dance kids.
I played it at the Troubador.
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 Andrew Hill. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Boredoms 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms 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?
the Slits,
The Gun Club,
Brothers Johnson,
X-Ray Spex,
Skaos,
Mars,
Rhythm & Sound,
Lalann,
Chris & Cosey,
Radiopuhelimet,
Stockholm Monsters,
Babytalk,
Magma,
Negative Approach,
Excepter,
Marc Almond,
London Community Gospel Choir,
Delta 5,
Quando Quango,
Flipper,
Jesper Dahlbäck,
Janne Schatter,
Robert Hood,
Eric Copeland,
PIL,
the Association,
Lucky Dragons,
Echo & the Bunnymen,
Simply Red,
The Fall,
Bronski Beat,
Godley & Creme,
Malaria!,
Neil Young & Crazy Horse,
E-Dancer,
Black Bananas,
Heavy D & The Boyz,
Drive Like Jehu,
Angry Samoans,
Can,
MC5,
Theoretical Girls,
Pharaoh Sanders and the Fire Engines,
Teenage Jesus and the Jerks,
Roger Hodgson,
Chrome,
Roy Ayers Ubiquity,
The Real Kids,
Neil Young,
The American Breed,
Funkadelic,
Bob Dylan,
Harpers Bizarre,
Cal Tjader,
DeepChord presents Echospace,
Saccharine Trust,
Suicide,
Pagans,
Animal Collective,
Kevin Saunderson,
Ornette Coleman,
Second Layer, Second Layer, Second Layer, Second Layer.
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.