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 Samoa and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Delhi 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 David Bowie to the punk kids.
I played it at the Crocodile.
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 Tom Boy. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
The Slackers,
The Cure,
the Association,
Ludus,
This Heat,
Hoover,
Funky Four + One,
Joyce Sims,
Ken Boothe,
Gerry Rafferty,
The Selecter,
Dark Day,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Dirtbombs,
David McCallum,
Stetsasonic,
Soul II Soul,
Johnny Clarke,
Lafayette Afro Rock Band,
Big Daddy Kane,
Crime,
Colin Newman,
Suburban Knight,
Yellowson,
June Days,
Fluxion,
Gil Scott-Heron and Jamie xx,
Electric Prunes,
Bang On A Can,
The Young Rascals,
Con Funk Shun,
Blossom Toes,
Michelle Simonal,
The Slits,
Avey Tare,
Nick Fraelich,
Minnie Riperton,
The Golliwogs,
Todd Terry,
Mary Jane Girls,
The Divine Comedy,
Girls At Our Best!,
Niagra,
The Modern Lovers,
Marcia Griffiths,
Icehouse,
Pet Shop Boys,
The Sonics,
DJ Style,
Notorious Big And Bone Thugs,
New Age Steppers,
The Fire Engines,
Matthew Bourne,
Bootsy's Rubber Band,
The Sound,
Black Sheep,
Sam Rivers,
Average White Band,
The Cosmic Jokers,
Echospace,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.