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 Tonga and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Woodstock and Toronto.
I'm losing my edge to the art-school Sao Paulo 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 Lou Reed 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 Piero Umiliani to the electroclash 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 The Techniques. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Panda Bear,
Masters at Work,
Visionaries,LMNO, T- Love & Iriscience,
Rapeman,
Sad Lovers and Giants,
Red Lorry Yellow Lorry,
Art Ensemble Of Chicago,
Sandy B,
Drexciya,
Yaz,
Tres Demented,
Gang Starr,
Magazine,
Graham Central Station,
Guru Guru,
Subhumans,
Deakin,
KRS-One,
Minor Threat,
Country Joe & The Fish,
Desert Stars,
Ituana,
B.T. Express,
Banda Bassotti,
Youth Brigade,
Mr. Review,
Fort Wilson Riot,
Avey Tare's Slasher Flicks,
Urselle,
Soft Cell,
Richard Hell and the Voidoids,
Big Daddy Kane,
Monks,
Heavy D & The Boyz,
The Birthday Party,
T. Rex,
Lyres,
Cymande,
John Cale,
The Stooges,
Sugar Minott,
Lou Reed & Metallica,
The Remains,
Soulsonic Force,
Wighnomy Brothers & Robag Wruhme,
The Dead C,
Jesper Dahlbäck,
Nik Kershaw,
Matthew Bourne,
Jeru the Damaja,
Maurizio,
Tom Boy,
Susan Cadogan,
Camouflage,
The Sonics,
The Gun Club,
The Monks,
Sällskapet,
Barry Ungar,
The Residents,
Eric Dolphy,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.