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 Angola and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ 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 Cameo to the electroclash kids.
I played it at the Spitz.
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 Sugar Minott. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Connie Case,
The Music Machine,
Sister Nancy,
Stiv Bators,
Bob Dylan,
Japan,
Marc Romboy vs. Booka Shade,
Sällskapet,
The Vogues,
Oppenheimer Analysis,
Negative Approach,
Archie Shepp,
K-Klass,
Silicon Teens,
Orchestral Manoeuvres in the Dark,
Michelle Simonal,
Heavy D & The Boyz,
Bobby Hutcherson,
The Smoke,
Arthur Verocai,
Essential Logic,
Little Man,
Idris Muhammad,
Nick Cave & The Bad Seeds,
Gil Scott-Heron & Brian Jackson,
Ultimate Spinach,
Niagra,
Barry Ungar,
Anakelly,
Kerrie Biddell,
Flamin' Groovies,
The Gladiators,
Surgeon,
Harpers Bizarre,
Visage,
Chris Corsano,
Terrestrial Tones,
Glenn Branca,
Ponytail,
Pete Rock & C.L. Smooth,
The Knickerbockers,
Larry & the Blue Notes,
The Young Rascals,
Man Parrish,
Lyres,
Sun Ra,
Beasts of Bourbon,
The Raincoats,
Lou Reed,
Aaron Thompson,
The Sonics,
Rowland S Howard / Lydia Lunch,
Rapeman,
The Saints,
Althea and Donna,
The Slits,
U.S. Maple,
Heaven 17,
The Doors,
Skarface,
Warsaw, Warsaw, Warsaw, Warsaw.
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.