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 Rwanda and from London.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb 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 Absolute Body Control to the dance 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 Dawn Penn. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Soul II Soul,
The West Coast Pop Art Experimental Band,
Lindisfarne,
The Selecter,
Barrington Levy,
Japan,
Half Japanese,
The American Breed,
U.S. Maple,
Ash Ra Tempel,
The Move,
Toni Rubio,
The Royal Family And The Poor,
The Cure,
Brick,
The Young Rascals,
Notorious Big And Bone Thugs,
Man Eating Sloth,
Siouxsie and the Banshees,
Jacques Brel,
Soft Cell,
Qualms,
Johnny Clarke,
Guru Guru,
The Last Poets,
Roger Hodgson,
Eric Dolphy,
Avey Tare's Slasher Flicks,
The Mojo Men,
LL Cool J,
The Shadows of Knight,
Deutsch Amerikanische Freundschaft,
Lebanon Hanover,
Clear Light,
Ultravox,
Q and Not U,
De La Soul & Jungle Brothers,
Sixth Finger,
Marcia Griffiths,
Nation of Ulysses,
La Düsseldorf,
Electric Light Orchestra,
Yazoo,
Bob Dylan,
Andrew Hill,
Joey Negro,
In Retrospect,
Eurythmics,
Cecil Taylor,
Los Fastidios,
Bang On A Can,
Skriet,
CMW,
Sexual Harrassment,
The Smiths,
Country Teasers,
Blancmange,
Jandek,
Gary Puckett & The Union Gap,
John Holt, John Holt, John Holt, John Holt.
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.