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 Malta and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Grandmaster Flash to the crunk 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 8 Eyed Spy. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Gang Starr,
Model 500,
The Cramps,
Sandy B,
Isaac Hayes,
Ken Boothe,
Eric Copeland,
The Remains,
10cc,
Zero Boys,
Marmalade,
Chris Corsano,
Quadrant,
Reuben Wilson,
Avey Tare,
Sad Lovers and Giants,
Fluxion,
Eden Ahbez,
The Five Americans,
The Smoke,
Orchestral Manoeuvres in the Dark,
Popol Vuh,
The Busters,
John Coltrane,
Television,
Drive Like Jehu,
Sister Nancy,
Sugar Minott,
Eyeless In Gaza,
Fear,
Sight & Sound,
Tubeway Army,
Jeru the Damaja,
Vainqueur,
New Order,
Ultramagnetic MC's,
Laurel Aitken,
Mr. Review,
the Human League,
kango's stein massive,
Anthony Braxton,
Man Parrish,
Arthur Verocai,
Rapeman,
Aswad,
Lightning Bolt,
Pete Rock & C.L. Smooth,
Ponytail,
Second Layer,
Max Romeo,
Glenn Branca,
The Misunderstood,
Lucky Dragons,
Soul II Soul,
Avey Tare's Slasher Flicks,
Rekid,
Selector Dub Narcotic,
Thompson Twins,
Swell Maps,
Grauzone,
Teenage Jesus and the Jerks,
The West Coast Pop Art Experimental Band,
Make Up, Make Up, Make Up, Make Up.
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.