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 Gabon and from Lagos.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Paris and Manila.
I'm losing my edge to the art-school Johannesburg 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 güiro sounds with much patience.
I was there when David Bowie 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 Shadows of Knight to the rap kids.
I played it at the Roxy.
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 John Cale. All the underground hits.
All Suicide tracks. I heard you have a vinyl of every Bill Wells 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Andrew Ashong & Theo Parrish,
UT,
Arab on Radar,
Robert Hood,
De La Soul & Jungle Brothers,
Reagan Youth,
Cameo,
F. McDonald,
Can,
Flash Fearless,
Visage,
The Pretty Things,
The Fortunes,
Susan Cadogan,
The Gladiators,
Orchestral Manoeuvres in the Dark,
Agent Orange,
Hardrive,
E-Dancer,
Ronnie Foster,
the Sonics,
The Gories,
Clear Light,
The Dead C,
Harry Pussy,
Rakim,
New York Dolls,
Reuben Wilson,
Moss Icon,
Tres Demented,
Rod Modell,
Masters at Work,
The Sonics,
Rosa Yemen,
Faraquet,
Gang Gang Dance,
Blake Baxter,
Eli Mardock,
The Royal Family And The Poor,
The Modern Lovers,
Warsaw,
Icehouse,
Big Daddy Kane,
The Searchers,
Fat Boys,
Kaleidoscope,
the Swans,
Sixth Finger,
Mantronix,
Louis and Bebe Barron,
Sunsets and Hearts,
Roger Hodgson,
Urselle,
Boz Scaggs,
Popol Vuh,
Lebanon Hanover,
Sun Ra,
Crash Course in Science,
Dead Boys,
The Standells,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.