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 Liechtenstein and from Mexico City.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Half Japanese to the punk 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 Ohio Players. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Sällskapet,
James Chance & The Contortions,
Spandau Ballet,
Rhythm & Sound,
The Victims,
Robert Görl,
Charles Mingus,
The Stooges,
The Remains,
The Birthday Party,
Beasts of Bourbon,
The Pretty Things,
Subhumans,
Terry Callier,
Tropical Tobacco,
Avey Tare,
Lou Reed,
Heaven 17,
Mad Mike,
Kerrie Biddell,
Maurizio,
Grandmaster Flash,
Arthur Verocai,
Joey Negro,
Suicide,
Tomorrow,
Boogie Down Productions,
Marc Almond,
The Monochrome Set,
The Mojo Men,
Black Pus,
The Selecter,
Rowland S Howard / Lydia Lunch,
Soul II Soul,
Flash Fearless,
Wolf Eyes,
Amon Düül,
ABBA,
AZ,
Stockholm Monsters,
Sex Pistols,
Livin' Joy,
Average White Band,
Rekid,
Index,
Radiopuhelimet,
Nils Olav,
Morten Harket,
Sight & Sound,
Sam Rivers,
Radiohead,
T.S.O.L.,
Wighnomy Brothers & Robag Wruhme,
Altered Images,
Theoretical Girls,
Funky Four + One,
Crooked Eye,
Urselle,
Captain Beefheart & His Magic Band,
Intrusion,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.