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 Cuba and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Ubu practice in a loft in Cleveland.
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 DJ Sneak to the techno 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 The Sisters of Mercy. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every The Detroit Cobras 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
These Immortal Souls,
Max Romeo,
Supertramp,
Organ,
T.S.O.L.,
Eric Copeland,
Loose Ends,
The Dirtbombs,
Bang on a Can All-Stars,
Japan,
the Association,
The Walker Brothers,
Matthew Bourne,
Notorious Big And Bone Thugs,
Graham Central Station,
Gerry Rafferty,
Rhythm & Sound,
Barbara Tucker,
Eli Mardock,
the Soft Cell,
China Crisis,
Lower 48,
Teenage Jesus and the Jerks,
Nils Olav,
X-102,
Zero Boys,
Depeche Mode,
Howard Jones,
The Alarm Clocks,
Deadbeat,
The Skatalites,
Piero Umiliani,
James White and The Blacks,
The Evens,
The Leaves,
Todd Rundgren,
Jeru the Damaja,
This Heat,
Cameo,
Spandau Ballet,
The Shadows of Knight,
Brick,
Nick Cave & The Bad Seeds,
Babytalk,
Mary Jane Girls,
Circle Jerks,
Black Sheep,
Ultra Naté,
Captain Beefheart & His Magic Band,
cv313,
The Names,
Rufus Thomas,
John Coltrane,
Section 25,
DJ Style,
Alton Ellis,
Gong,
Rod Modell,
The Dave Clark Five,
Avey Tare,
Mars,
The Martian, The Martian, The Martian, The Martian.
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.