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 Djibouti and from Tokyo.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Tehran 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 808 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 Gastr Del Sol to the funk kids.
I played it at Cafe Wha.
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 Nico. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Subhumans,
DJ Sneak,
Rapeman,
Donny Hathaway,
The Count Five,
Slave,
Davy DMX,
Eric B and Rakim,
Eyeless In Gaza,
The Blues Magoos,
Freddie Wadling,
The J.B.'s,
Q65,
Frankie Knuckles,
FM Einheit,
Inner City,
Flamin' Groovies,
Royal Trux,
The Searchers,
Kayak,
Banda Bassotti,
Kool Moe Dee,
Camberwell Now,
Lucky Dragons,
Radio Birdman,
Siouxsie and the Banshees,
Ultravox,
Wasted Youth,
Avey Tare & Kría Brekkan,
The Stooges,
EPMD,
Joe Smooth,
Sun Ra Arkestra,
James Chance & The Contortions,
Lalann,
Boogie Down Productions,
Joyce Sims,
The Motions,
Youth Brigade,
Swell Maps,
Deadbeat,
Maleditus Sound,
Derrick Morgan,
Cheater Slicks,
The Offenders,
Super Lover Cee & Casanova Rud,
Spandau Ballet,
The Martian,
Kerrie Biddell,
Jesper Dahlbäck,
Minutemen,
Chris & Cosey,
L. Decosne,
Roy Ayers Ubiquity,
Ice-T,
Soft Machine,
The Sound,
Rod Modell,
Drexciya,
Darondo,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.