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 Maldives and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Lagos 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Barbara Tucker to the crunk 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 Ornette Coleman. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Black Flag 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
The New Christs,
The Fire Engines,
Massinfluence,
Masters at Work,
Public Enemy,
Japan,
Susan Cadogan,
Los Fastidios,
Marc Romboy vs. Booka Shade,
Moebius,
Television,
The Golliwogs,
Von Mondo,
Quando Quango,
Moby Grape,
The Flesh Eaters,
Mark Hollis,
Cabaret Voltaire,
Pussy Galore,
Yusef Lateef,
E-Dancer,
Joe Smooth,
Average White Band,
The Red Krayola,
Barbara Tucker,
Gil Scott-Heron & Brian Jackson,
Godley & Creme,
kango's stein massive,
Pulsallama,
Archie Shepp,
Interpol,
June Days,
The Cowsills,
Tres Demented,
Darondo,
Fugazi,
Yazoo,
Jerry Gold Smith,
Whodini,
Ralphi Rosario,
Andrew Hill,
Kool Moe Dee,
The American Breed,
Maleditus Sound,
Boredoms,
Deadbeat,
Sly & The Family Stone,
Ash Ra Tempel,
Shoche,
Mo-Dettes,
Robert Wyatt,
Unrelated Segments,
F. McDonald,
the Human League,
AZ,
The Move,
Make Up,
KRS-One,
Chris Corsano,
The Sonics,
Kas Product,
X-Ray Spex,
Harmonia, Harmonia, Harmonia, Harmonia.
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.