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 Morocco and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Winnipeg 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 808 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 Zero Boys to the grime kids.
I played it at Cafe Wha.
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 Ronnie Foster. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Severed Heads,
Animal Collective,
Heavy D & The Boyz,
DNA,
Black Pus,
Urselle,
Nik Kershaw,
Notorious Big And Bone Thugs,
Country Teasers,
Ken Boothe,
Gil Scott-Heron & Brian Jackson,
Fifty Foot Hose,
The Blackbyrds,
T.S.O.L.,
The Doors,
U.S. Maple,
Dead Boys,
Index,
Gong,
Zero Boys,
Nick Fraelich,
Black Moon,
Excepter,
Aaron Thompson,
Pharoah Sanders,
Henry Cow,
Aswad,
Bootsy Collins,
Pantytec,
The Fall,
Manfred Mann's Earth Band,
Newcleus,
Drive Like Jehu,
Gary Puckett & The Union Gap,
The Slackers,
Nas,
Slick Rick,
Young Marble Giants,
The Young Rascals,
MC5,
Joey Negro,
The Human League,
Glenn Branca,
Soft Cell,
Alison Limerick,
Prince Buster,
Unwound,
Rapeman,
Richard Hell and the Voidoids,
Eric B and Rakim,
Intrusion,
Cabaret Voltaire,
Chrome,
KRS-One,
Bobby Hutcherson,
Fela Kuti,
Art Ensemble Of Chicago,
Marshall Jefferson,
Parry Music,
Sandy B,
Suburban Knight,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.