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 Kuwait and from Edmonton.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Calgary.
I'm losing my edge to the art-school Lagos 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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Flipper to the rock kids.
I played it at the Spitz.
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 Erasure. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Flamin' Groovies 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Saccharine Trust,
The Count Five,
Eric Dolphy,
Main Source,
Average White Band,
Anthony Braxton,
Avey Tare & Kría Brekkan,
Gastr Del Sol,
Idris Muhammad,
Notorious BIG live in Amsterdam,
Oppenheimer Analysis,
Rites of Spring,
Motorama,
The Monks,
Royal Trux,
Shuggie Otis,
Grandmaster Flash and the Furious Five,
Curtis Mayfield,
The Last Poets,
Don Cherry,
Tropical Tobacco,
Radiohead,
Pet Shop Boys,
Piero Umiliani,
John Lydon,
Blancmange,
Sparks,
Hot Snakes,
Pharaoh Sanders and the Fire Engines,
F. McDonald,
Babytalk,
Spoonie Gee,
Jerry's Kids,
Buzzcocks,
Tommy Roe,
Kauko Röyhkä ja Narttu,
The Remains,
Be Bop Deluxe,
Dual Sessions,
Television,
James Chance & The Contortions,
Maurizio,
Depeche Mode,
Massinfluence,
Alison Limerick,
Khruangbin,
Moby Grape,
Jerry Gold Smith,
Bob Dylan,
Röyhkä ja Rättö ja Lehtisalo,
Warsaw,
Yellowson,
Roy Ayers Ubiquity,
Qualms,
James White and The Blacks,
Matthew Halsall,
Anakelly,
Gang Gang Dance,
Little Man,
The Walker Brothers,
Juan Atkins,
Section 25, Section 25, Section 25, Section 25.
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.