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 Uzbekistan and from Manchester.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Pagans to the funk 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 Fat Boys. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ronan record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
The Techniques,
Country Teasers,
Model 500,
Interpol,
cv313,
Adolescents,
DeepChord presents Echospace,
John Lydon,
Inner City,
Glenn Branca,
Man Eating Sloth,
Accadde A,
Young Marble Giants,
The Royal Family And The Poor,
Barclay James Harvest,
Thinking Fellers Union Local 282,
Tears for Fears,
Ornette Coleman,
The Smoke,
Mission of Burma,
Pole,
the Bar-Kays,
Motorama,
Unwound,
The Sound,
Man Parrish,
Nik Kershaw,
Isaac Hayes,
Faust,
Wasted Youth,
The Durutti Column,
Joey Negro,
The Gladiators,
David McCallum,
Nick Fraelich,
Essential Logic,
Jawbox,
Little Man,
Gil Scott-Heron and Jamie xx,
Grandmaster Flash and the Furious Five,
Oblivians,
Rowland S Howard / Lydia Lunch,
Fort Wilson Riot,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pylon,
Skarface,
Todd Rundgren,
Peter and Kerry,
James White and The Blacks,
Grey Daturas,
Minutemen,
The Stooges,
EPMD,
The Index,
Erasure,
H. Thieme,
Traffic Nightmare,
Television Personalities,
Deutsch Amerikanische Freundschaft,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.