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 Honduras and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Jakarta 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 The Skatalites to the grime kids.
I played it at CBGB's.
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 The Cowsills. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Tropical Tobacco,
Funky Four + One,
The Electric Prunes,
Ultravox,
Inner City,
Pet Shop Boys,
Laurel Aitken,
Model 500,
B.T. Express,
Unwound,
Roger Hodgson,
The Modern Lovers,
Eric Copeland,
The Detroit Cobras,
Arthur Verocai,
Barry Ungar,
Aloha Tigers,
Excepter,
Beasts of Bourbon,
the Sonics,
Eve St. Jones,
Aaron Thompson,
8 Eyed Spy,
Public Image Ltd.,
The Smiths,
Darondo,
Zapp,
The Cure,
The New Christs,
Peter & Gordon,
It's A Beautiful Day,
the Germs,
Echospace,
James White and The Blacks,
Matthew Bourne,
Rowland S Howard / Lydia Lunch,
Rites of Spring,
De La Soul & Jungle Brothers,
Skaos,
Khruangbin,
The Golliwogs,
Aural Exciters,
the Bar-Kays,
Robert Hood,
Eric B and Rakim,
Bronski Beat,
Wally Richardson,
Alison Limerick,
Donald Byrd,
The Divine Comedy,
Grandmaster Flash,
Vainqueur,
Cabaret Voltaire,
Deepchord,
Gang Starr,
Index,
DeepChord presents Echospace,
Spoonie Gee,
Matthew Halsall,
cv313,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.