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 Uganda and from Calgary.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the guitar 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 Bizarre Inc. 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 The Star Department. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Aswad 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 '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
The Mummies,
Lower 48,
Quantec,
Suicide,
Ultra Naté,
Lebanon Hanover,
Delta 5,
Shuggie Otis,
Spoonie Gee,
The Moleskins,
Graham Central Station,
Rotary Connection,
Pole,
Oppenheimer Analysis,
Super Lover Cee & Casanova Rud,
Dark Day,
Flipper,
Von Mondo,
Stiv Bators,
It's A Beautiful Day,
Joe Finger,
The Music Machine,
Trumans Water,
Black Sheep,
Scott Walker,
Richard Hell and the Voidoids,
Al Stewart,
Sällskapet,
Brass Construction,
Nas,
the Swans,
Khruangbin,
Connie Case,
Unwound,
MDC,
The Seeds,
Roxy Music,
The J.B.'s,
Second Layer,
Sight & Sound,
The Mighty Diamonds,
Lafayette Afro Rock Band,
Heavy D & The Boyz,
June of 44,
Lightning Bolt,
Ronnie Foster,
X-102,
Leonard Cohen,
The Divine Comedy,
Gian Franco Pienzio,
Pete Rock & C.L. Smooth,
Curtis Mayfield,
Black Flag,
Soft Machine,
Bootsy's Rubber Band,
Gabor Szabo,
The Dead C,
Guru Guru,
Dual Sessions,
Barrington Levy,
The Victims, The Victims, The Victims, The Victims.
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.