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 the UAE and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 Qualms to the jazz kids.
I played it at Cafe Wha.
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 EPMD. All the underground hits.
All Nas tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Ronan,
Von Mondo,
Terror Squad Feat. Camron,
Gabor Szabo,
Notorious BIG live in Amsterdam,
Average White Band,
Bang On A Can,
The Detroit Cobras,
Inner City,
Lebanon Hanover,
Sixth Finger,
Fort Wilson Riot,
Scott Walker + Sunn O))),
Marcia Griffiths,
the Association,
Soul Sonic Force,
Fugazi,
Bronski Beat,
Con Funk Shun,
Ice-T,
Delon & Dalcan,
The Angels of Light,
Q and Not U,
Vladislav Delay,
The Last Poets,
John Holt,
CMW,
Lou Reed & John Cale,
The Buckinghams,
Soul II Soul,
Camron Feat. Memphis Bleek And Beenie Seigel,
Connie Case,
Justin Hinds & The Dominoes,
Crispian St. Peters,
Lee Hazlewood,
Flash Fearless,
Thinking Fellers Union Local 282,
Intrusion,
Siglo XX,
X-Ray Spex,
the Sonics,
Public Image Ltd.,
Minor Threat,
Make Up,
New Order,
Motorama,
the Fania All-Stars,
Moebius,
Mission of Burma,
Lizzy Mercier Descloux,
Agitation Free,
Hot Snakes,
Skriet,
The Count Five,
Television,
Organ,
Tropical Tobacco,
R.M.O.,
The Busters,
Amazonics,
Ash Ra Tempel,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.