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 Argentina and from Edmonton.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Bologna 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Dual Sessions to the punk 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 Cheater Slicks. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
The Slits,
Röyhkä ja Rättö ja Lehtisalo,
Neu!,
Sunsets and Hearts,
Ornette Coleman,
Delta 5,
World's Most,
The Saints,
Albert Ayler,
The Cure,
Eurythmics,
The Offenders,
The Cosmic Jokers,
Major Organ And The Adding Machine,
Erasure,
The Sonics,
Derrick May,
Alison Limerick,
Easy Going,
Marshall Jefferson,
Reuben Wilson,
The Vogues,
Pulsallama,
Robert Hood,
Model 500,
Archie Shepp,
Jeru the Damaja,
Freddie Wadling,
Liliput,
David Axelrod,
Guru Guru,
the Fania All-Stars,
Crooked Eye,
Ronnie Foster,
Robert Görl,
Grauzone,
Royal Trux,
The West Coast Pop Art Experimental Band,
Bang On A Can,
Alice Coltrane,
Moby Grape,
Fifty Foot Hose,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pantaleimon,
The Selecter,
Marcia Griffiths,
Flipper,
Harmonia,
Y Pants,
The Count Five,
Pagans,
Cymande,
Ludus,
Angels of Light & Akron/Family,
Sandy B,
Thinking Fellers Union Local 282,
Marine Girls,
Barbara Tucker,
The Cowsills,
Crispian St. Peters,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.