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 Liberia and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Beijing 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Urselle to the techno kids.
I played it at the Astoria.
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 Ultravox. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Hasil Adkins 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Colin Newman,
Curtis Mayfield,
The Slackers,
Ultravox,
Oneida,
Drexciya,
Rufus Thomas,
The Moody Blues,
Justin Hinds & The Dominoes,
Bobby Sherman,
Lou Christie,
Scientists,
Derrick May,
Junior Murvin,
Country Teasers,
Godley & Creme,
Brand Nubian,
Rowland S Howard / Lydia Lunch,
Erasure,
the Sonics,
Danielle Patucci,
The Shadows of Knight,
Moby Grape,
Fluxion,
ABC,
Bill Wells,
Talk Talk,
Drive Like Jehu,
Pylon,
Angels of Light & Akron/Family,
Roger Hodgson,
Lightning Bolt,
Supertramp,
Chris & Cosey,
Crime,
Marc Romboy vs. Booka Shade,
Morten Harket,
the Human League,
Trumans Water,
Mr. Review,
Sexual Harrassment,
Rekid,
Groovy Waters,
ABBA,
Magma,
Scratch Acid,
The Durutti Column,
Heavy D & The Boyz,
The Trojans,
Lalann,
Cybotron,
John Foxx,
Joey Negro,
Nik Kershaw,
The Dave Clark Five,
Nico,
The Dirtbombs,
Don Cherry,
Rapeman,
New York Dolls,
Cabaret Voltaire,
Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience.
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.