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 San Marino and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Manchester and Delhi.
I'm losing my edge to the art-school Manila 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Gang of Four to the funk 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 Mark Hollis. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Barbara Tucker 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Lizzy Mercier Descloux,
Khruangbin,
Alison Limerick,
LL Cool J,
Gang Gang Dance,
Dual Sessions,
Gabor Szabo,
R.M.O.,
Neil Young,
Soft Machine,
Theoretical Girls,
Warsaw,
Jesper Dahlback,
Davy DMX,
A Certain Ratio,
Bad Manners,
Siglo XX,
Don Cherry,
Wally Richardson,
Soft Cell,
Organ,
Mary Jane Girls,
Pierre Henry,
Gil Scott-Heron and Jamie xx,
Mission of Burma,
Japan,
Tom Boy,
Bob Dylan,
Brand Nubian,
Jerry's Kids,
Shuggie Otis,
Bill Near,
Eric B and Rakim,
CMW,
Urselle,
Animal Collective,
Main Source,
Deakin,
Jawbox,
Sticky Fingaz feat. Raekwon,
Andrew Ashong & Theo Parrish,
Connie Case,
Liliput,
the Soft Cell,
Suicide,
Simply Red,
Ultra Naté,
Electric Prunes,
Alton Ellis,
Guru Guru,
Von Mondo,
Pharaoh Sanders and the Fire Engines,
New York Dolls,
Public Enemy,
Skriet,
The Trojans,
U.S. Maple,
Kurtis Blow,
Kool G Rap & DJ Polo,
Fort Wilson Riot,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.