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 Nicaragua and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Copenhagen 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 at the first Suicide practice in a loft in New York.
I was working on the theremin 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 T. Rex to the electroclash 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 Bizarre Inc.. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal funk 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 a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Jeff Lynne,
Lou Reed,
Danielle Patucci,
Anthony Braxton,
B.T. Express,
Piero Umiliani,
Warren Ellis,
Roxette,
Rhythm & Sound,
World's Most,
Massinfluence,
Can,
Robert Wyatt,
Eurythmics,
Susan Cadogan,
Matthew Bourne,
Thompson Twins,
Von Mondo,
Rufus Thomas,
Max Romeo,
Stiv Bators,
Joe Finger,
The Index,
Neu!,
Boogie Down Productions,
Pussy Galore,
Moss Icon,
Ultimate Spinach,
A Certain Ratio,
The Velvet Underground,
A Flock of Seagulls,
Ajijia Myrayebe,
Kool G Rap & DJ Polo,
Popol Vuh,
The Martian,
The Beau Brummels,
Blancmange,
Ornette Coleman,
Brass Construction,
Terrestrial Tones,
Nik Kershaw,
Chrome,
Sam Rivers,
The Move,
Alison Limerick,
The Remains,
EPMD,
Los Fastidios,
Drexciya,
Severed Heads,
The Durutti Column,
the Normal,
Scan 7,
Desert Stars,
Joyce Sims,
The Birthday Party,
Wally Richardson,
Sun Ra,
Ten City,
Fugazi,
Agitation Free,
K-Klass,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.