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 United States and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Calgary.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Banda Bassotti to the jazz 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 The Saints. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
The Fuzztones,
Lou Reed & John Cale,
Junior Murvin,
Marcia Griffiths,
Porter Ricks,
Darondo,
The Cramps,
Rakim,
Avey Tare's Slasher Flicks,
Rowland S Howard / Lydia Lunch,
The Electric Prunes,
Jesper Dahlbäck,
The Young Rascals,
Fela Kuti,
Saccharine Trust,
Scion,
U.S. Maple,
Matthew Halsall,
Symarip,
Visionaries,LMNO, T- Love & Iriscience,
Kool G Rap & DJ Polo,
Slave,
Mr. Review,
Warsaw,
A Flock of Seagulls,
Slick Rick,
Rufus Thomas,
The Dead C,
Crispian St. Peters,
Amon Düül,
New Order,
Kaleidoscope,
Scan 7,
Johnny Clarke,
Make Up,
Moebius,
The Mighty Diamonds,
Deakin,
Minutemen,
Ossler,
Kevin Saunderson,
Dead Boys,
Ice-T,
Pulsallama,
Joyce Sims,
Sex Pistols,
the Bar-Kays,
Los Fastidios,
Fluxion,
Brand Nubian,
Alphaville,
Eden Ahbez,
June of 44,
Nation of Ulysses,
Pere Ubu,
Super Lover Cee & Casanova Rud,
Röyhkä ja Rättö ja Lehtisalo,
Sexual Harrassment,
Ohio Players,
Grandmaster Flash,
JFA,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.