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 India and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Lagos 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 sitar 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 Lou Reed to the disco kids.
I played it at CBGB's.
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 Minutemen. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Sarah Menescal 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Masters at Work,
The Move,
Bauhaus,
Kevin Saunderson,
Fatback Band,
Peter & Gordon,
Unrelated Segments,
Judy Mowatt,
Gian Franco Pienzio,
Wings,
Slick Rick,
Pole,
Desert Stars,
Sound Behaviour,
Gong,
Groovy Waters,
Wire,
Don Cherry,
Deakin,
The American Breed,
Roy Ayers,
The Blackbyrds,
Theoretical Girls,
Cymande,
Grandmaster Flash,
Joyce Sims,
The Motions,
Thee Headcoats,
The Shadows of Knight,
Rhythm & Sound,
Maurizio,
Flamin' Groovies,
Ken Boothe,
London Community Gospel Choir,
Marc Romboy vs. Booka Shade,
Sister Nancy,
The Star Department,
Bad Manners,
Marcia Griffiths,
Prince Buster,
Popol Vuh,
Reagan Youth,
The Moleskins,
Jacques Brel,
Sunsets and Hearts,
Joe Finger,
Erykah Badu,
Gil Scott Heron,
Oppenheimer Analysis,
Kool G Rap & DJ Polo,
The Fire Engines,
B.T. Express,
Heavy D & The Boyz,
Moss Icon,
Marine Girls,
Fifty Foot Hose,
Sparks,
Agent Orange,
Eric Copeland,
Rhythim Is Rhythim,
Suicide,
Tommy Roe,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.