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 Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Accra and Lyon.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar 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 Fatback Band to the grime kids.
I played it at the Troubador.
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 Red Lorry Yellow Lorry. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Tears for Fears,
Chris & Cosey,
Robert Hood,
Swell Maps,
Sad Lovers and Giants,
T. Rex,
The Skatalites,
Scott Walker + Sunn O))),
Massinfluence,
Rhythm & Sound,
The Gories,
Joe Smooth,
The Cosmic Jokers,
Rufus Thomas,
Siouxsie and the Banshees,
This Heat,
Bronski Beat,
The Sonics,
Groovy Waters,
The Angels of Light,
Wasted Youth,
Tres Demented,
Sticky Fingaz feat. Raekwon,
Skaos,
Darondo,
Charles Mingus,
Ornette Coleman,
Rosa Yemen,
Nas,
Tubeway Army,
Saccharine Trust,
Godley & Creme,
Quadrant,
Terrestrial Tones,
Public Image Ltd.,
Toni Rubio,
The Offenders,
The Stooges,
Ludus,
Alphaville,
The Doobie Brothers,
Crispian St. Peters,
Girls At Our Best!,
EPMD,
Urselle,
Cheater Slicks,
Spandau Ballet,
Hardrive,
Audionom,
Sex Pistols,
Richard Hell and the Voidoids,
Infiniti,
Lonnie Liston Smith,
Model 500,
Derrick May,
The Fortunes,
Ken Boothe,
Boz Scaggs,
Funkadelic,
Todd Terry,
Amon Düül II,
Porter Ricks,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.