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 Paraguay and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
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 808 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 CMW to the electroclash 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 Lakeside. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Archie Shepp 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 '80s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Clear Light,
The Misunderstood,
48th St. Collective,
U.S. Maple,
Prince Buster,
Lonnie Liston Smith,
The Invisible,
The Saints,
Lafayette Afro Rock Band,
Bizarre Inc.,
Newcleus,
Das Ding,
Jacques Brel,
Funky Four + One,
Ludus,
KRS-One,
Moebius,
The Fuzztones,
Lou Reed & Metallica,
The Durutti Column,
Slick Rick,
Judy Mowatt,
Sun Ra,
Lakeside,
Country Teasers,
Ronnie Foster,
R.M.O.,
Girls At Our Best!,
Derrick May,
Funkadelic,
Saccharine Trust,
Gichy Dan,
Spoonie Gee,
World's Most,
Idris Muhammad,
Kevin Saunderson,
Sound Behaviour,
Jacob Miller,
Morten Harket,
Minor Threat,
Crispian St. Peters,
Arab on Radar,
Crime,
DNA,
Connie Case,
X-102,
The Neon Judgement,
Orchestral Manoeuvres in the Dark,
Letta Mbulu,
New Age Steppers,
The Trojans,
Roxette,
Tommy Roe,
Intrusion,
The Sisters of Mercy,
Kerri Chandler,
June of 44,
The Victims,
Max Romeo,
Erasure,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.