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 Marshall Islands and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Calgary and Columbus.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 The Mojo Men to the electroclash 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 Scion. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Chris & Cosey,
Lyres,
Bang On A Can,
F. McDonald,
Fluxion,
The Vogues,
Ituana,
D'Angelo,
Television Personalities,
Isaac Hayes,
Skarface,
Avey Tare's Slasher Flicks,
Robert Hood,
Captain Beefheart & His Magic Band,
Flamin' Groovies,
New York Dolls,
Deakin,
Aaron Thompson,
Robert Görl,
Index,
the Normal,
Justin Hinds & The Dominoes,
Yaz,
Electric Prunes,
Derrick Morgan,
Grauzone,
John Cale,
The Wake,
Excepter,
X-101,
The Royal Family And The Poor,
The American Breed,
The West Coast Pop Art Experimental Band,
The Last Poets,
The Detroit Cobras,
Cymande,
The Alarm Clocks,
Mad Mike,
Wolf Eyes,
In Retrospect,
48th St. Collective,
Amazonics,
Drive Like Jehu,
Gian Franco Pienzio,
The Motions,
The Gories,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oblivians,
Inner City,
Smog,
CMW,
Technova,
Sad Lovers and Giants,
Rakim,
Eli Mardock,
Model 500,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.