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 Micronesia and from Beijing.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar 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 Ajijia Myrayebe to the jazz kids.
I played it at the Hacienda.
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 Marine Girls. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Ornette Coleman,
Vainqueur,
Spandau Ballet,
Fela Kuti,
World's Most,
Amon Düül,
The Associates,
Rapeman,
Au Pairs,
La Düsseldorf,
Cal Tjader,
Zero Boys,
The Barracudas,
Sun Ra Arkestra,
Aural Exciters,
Rowland S Howard / Lydia Lunch,
The Detroit Cobras,
Marcia Griffiths,
The Divine Comedy,
Marshall Jefferson,
Lungfish,
Glenn Branca,
New Age Steppers,
Nils Olav,
Funky Four + One,
Public Image Ltd.,
Jawbox,
Ludus,
Eric B and Rakim,
Con Funk Shun,
Make Up,
Todd Rundgren,
Jeff Lynne,
F. McDonald,
Tubeway Army,
Ten City,
One Last Wish,
Lafayette Afro Rock Band,
Rahsaan Roland Kirk,
Bobby Byrd,
Bronski Beat,
Sonny Sharrock,
Loose Ends,
Desert Stars,
E-Dancer,
Fluxion,
Terry Callier,
Michelle Simonal,
Idris Muhammad,
Man Eating Sloth,
Scientists,
8 Eyed Spy,
Don Cherry,
The New Christs,
Crispian St. Peters,
June Days,
The Index,
the Sonics,
The Skatalites,
The Five Americans,
Robert Hood,
Stockholm Monsters,
EPMD, EPMD, EPMD, EPMD.
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.