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 Niger and from Seoul.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Lyon 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Mark Hollis 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 Don Cherry. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Massinfluence 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Aswad,
Oppenheimer Analysis,
Drive Like Jehu,
Adolescents,
The Happenings,
Suicide,
Roger Hodgson,
Mr. Review,
Nick Cave & The Bad Seeds,
Gong,
The Five Americans,
Leonard Cohen,
X-102,
Whodini,
Public Image Ltd.,
Audionom,
Pantytec,
Louis and Bebe Barron,
Lafayette Afro Rock Band,
Sad Lovers and Giants,
Sixth Finger,
Rosa Yemen,
Gil Scott Heron,
Sunsets and Hearts,
Television Personalities,
Sight & Sound,
Deakin,
Agent Orange,
Ultra Naté,
Mantronix,
Saccharine Trust,
The Gun Club,
Desert Stars,
10cc,
Ludus,
Magazine,
Yusef Lateef,
Avey Tare & Kría Brekkan,
Soul II Soul,
Althea and Donna,
Essential Logic,
DJ Style,
Frankie Knuckles,
Siglo XX,
DJ Sneak,
Kerri Chandler,
The Modern Lovers,
Scott Walker + Sunn O))),
The Human League,
KRS-One,
Teenage Jesus and the Jerks,
Byron Stingily,
Boogie Down Productions,
Fifty Foot Hose,
Thompson Twins,
Cabaret Voltaire,
The Raincoats,
R.M.O.,
David McCallum,
Bluetip,
Lou Reed,
The Kinks, The Kinks, The Kinks, The Kinks.
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.