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 Sweden and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1972.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
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 theremin sounds with much patience.
I was there when Holger Czukay 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 Hashim to the electroclash kids.
I played it at Trash.
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 Kenny Larkin. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Essential Logic 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
AZ,
Rapeman,
Chris Corsano,
Erykah Badu,
Amon Düül,
The Star Department,
Talk Talk,
Suicide,
Altered Images,
Crash Course in Science,
Josef K,
Todd Terry,
Henry Cow,
Spandau Ballet,
U.S. Maple,
Albert Ayler,
Alton Ellis,
Dave Gahan,
The Golliwogs,
Ralphi Rosario,
Jacques Brel,
Section 25,
Sly & The Family Stone,
Youth Brigade,
Public Image Ltd.,
Yellowson,
Gang Green,
Louis and Bebe Barron,
X-101,
the Soft Cell,
Fad Gadget,
Gregory Isaacs,
Mark Hollis,
the Association,
Derrick May,
Joensuu 1685,
Soul Sonic Force,
Hoover,
The Fortunes,
Buzzcocks,
Monks,
Notorious BIG live in Amsterdam,
Big Daddy Kane,
Motorama,
Heaven 17,
the Human League,
Lightning Bolt,
Gang Gang Dance,
Kaleidoscope,
X-102,
Rahsaan Roland Kirk,
Jacob Miller,
Agitation Free,
ABBA,
The Jesus and Mary Chain,
Cymande,
Los Fastidios,
Q and Not U,
F. McDonald,
Lafayette Afro Rock Band,
Mo-Dettes,
Boredoms,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.