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 Comoros and from Lyon.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Accra and Lyon.
I'm losing my edge to the art-school Mexico City 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 1973 at the first Television practice in a loft in New York.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Nas to the rock 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 Monolake. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Lafayette Afro Rock Band,
Thompson Twins,
Maurizio,
Fugazi,
Peter & Gordon,
The Grass Roots,
Arcadia,
Grandmaster Flash and the Furious Five,
The Dead C,
the Sonics,
The Pretty Things,
Rahsaan Roland Kirk,
David Bowie,
The Kinks,
Young Marble Giants,
Boogie Down Productions,
Nik Kershaw,
Cybotron,
UT,
Bob Dylan,
Michelle Simonal,
Kango’s Stein Massive,
Aaron Thompson,
Notorious BIG live in Amsterdam,
Gil Scott-Heron and Jamie xx,
Ossler,
Robert Görl,
Organ,
Make Up,
Sonny Sharrock,
Marcia Griffiths,
Mo-Dettes,
Blancmange,
Pussy Galore,
Avey Tare & Kría Brekkan,
The Fugs,
Loose Ends,
Lungfish,
Cymande,
Terrestrial Tones,
Tomorrow,
Bronski Beat,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Residents,
Little Man,
R.M.O.,
Andrew Ashong & Theo Parrish,
The Velvet Underground,
Half Japanese,
The Divine Comedy,
Minnie Riperton,
Amazonics,
Kas Product,
MDC,
Rapeman,
The Monochrome Set,
Suburban Knight,
Theoretical Girls,
Sun Ra Arkestra,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.