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 Kenya and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Lyon 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Rufus Thomas to the electroclash kids.
I played it at the 40 Watt.
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 ABC. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Isaac Hayes record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Dorothy Ashby,
Royal Trux,
Rod Modell,
FM Einheit,
Ultra Naté,
Zapp,
cv313,
Derrick May,
Terry Callier,
The Dave Clark Five,
Camberwell Now,
Radiohead,
Japan,
Public Enemy,
Das Ding,
Unwound,
Lakeside,
Richard Hell and the Voidoids,
The Cosmic Jokers,
Dead Boys,
The Electric Prunes,
John Coltrane,
Soul II Soul,
Stereo Dub,
Sugar Minott,
Carl Craig,
Man Parrish,
Dawn Penn,
The Fuzztones,
Spandau Ballet,
Lungfish,
Sly & The Family Stone,
Desert Stars,
Severed Heads,
Crooked Eye,
The Young Rascals,
A Certain Ratio,
The Victims,
Red Lorry Yellow Lorry,
Main Source,
Connie Case,
The Velvet Underground,
Gil Scott Heron,
Mad Mike,
Grandmaster Flash and the Furious Five,
Todd Terry,
The Toasters,
Dual Sessions,
Au Pairs,
Whodini,
Kerrie Biddell,
Kevin Saunderson,
The Names,
Traffic Nightmare,
Sam Rivers,
Ash Ra Tempel,
The Zeros,
Fugazi,
Bad Manners,
The Gories,
Roxy Music,
Amon Düül II,
Jerry Gold Smith,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.