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 Italy and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
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 arpeggiator 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 Sunsets and Hearts to the punk 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 Michelle Simonal. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Larry & the Blue Notes,
Louis and Bebe Barron,
Notorious Big And Bone Thugs,
Kaleidoscope,
Liliput,
MC5,
Radio Birdman,
Surgeon,
Rapeman,
Thompson Twins,
Jesper Dahlbäck,
The Offenders,
Gang Green,
Juan Atkins,
The Techniques,
The Mighty Diamonds,
Agent Orange,
Qualms,
Neil Young & Crazy Horse,
Boogie Down Productions,
DJ Style,
The Cramps,
Colin Newman,
Gang Gang Dance,
R.M.O.,
Marshall Jefferson,
Barbara Tucker,
X-102,
Cabaret Voltaire,
Wighnomy Brothers & Robag Wruhme,
Alice Coltrane,
Leonard Cohen,
B.T. Express,
Lou Reed,
Johnny Osbourne,
Whodini,
Deepchord,
Ten City,
Idris Muhammad,
The Dirtbombs,
Neu!,
Minny Pops,
Dark Day,
The Jesus and Mary Chain,
Slick Rick,
Sparks,
Andrew Ashong & Theo Parrish,
Aloha Tigers,
Robert Wyatt,
Grandmaster Flash and the Furious Five,
Swans,
Monolake,
Ash Ra Tempel,
Vaughan Mason & Crew,
Eric Copeland,
Charles Mingus,
Lucky Dragons,
Yellowson,
Erykah Badu,
Royal Trux,
Tommy Roe,
The American Breed,
It's A Beautiful Day,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.