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 Korea South and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Delhi and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 at the first Suicide practice in a loft in New York.
I was working on the sitar 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 Soul Sonic Force to the punk kids.
I played it at the Roxy.
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 Sad Lovers and Giants. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
DJ Style,
Fifty Foot Hose,
the Bar-Kays,
Sandy B,
The Star Department,
the Germs,
Albert Ayler,
Bronski Beat,
the Soft Cell,
Roy Ayers Ubiquity,
Delon & Dalcan,
Howard Jones,
The Birthday Party,
Shoche,
Grandmaster Flash,
Pagans,
Kool Moe Dee,
The Sonics,
Boogie Down Productions,
Alison Limerick,
Crash Course in Science,
The Barracudas,
Oppenheimer Analysis,
OOIOO,
Funkadelic,
Bobbi Humphrey,
Qualms,
The Slits,
Maurizio,
Nick Cave & The Bad Seeds,
Newcleus,
Terrestrial Tones,
Rowland S Howard / Lydia Lunch,
Traffic Nightmare,
Trumans Water,
Wire,
The Names,
The Techniques,
Judy Mowatt,
Camouflage,
Red Lorry Yellow Lorry,
Outsiders,
Dennis Brown,
Aloha Tigers,
Dave Gahan,
Japan,
New York Dolls,
Moss Icon,
Lebanon Hanover,
Hardrive,
The Durutti Column,
Sam Rivers,
AZ,
The Fall,
The Slackers,
The Electric Prunes,
Section 25,
Main Source,
Glambeats Corp.,
Franke,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.