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 Jordan and from Tehran.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 Lafayette Afro Rock Band to the dance kids.
I played it at the 40 Watt.
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 Quantec. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Mark Hollis,
Prince Buster,
La Düsseldorf,
The Litter,
Black Bananas,
MC5,
Amon Düül II,
Japan,
David Axelrod,
The Music Machine,
X-101,
Pierre Henry,
Bluetip,
The Cramps,
London Community Gospel Choir,
The Monks,
Bauhaus,
Be Bop Deluxe,
Gang of Four,
Cybotron,
Sex Pistols,
Boogie Down Productions,
Siouxsie and the Banshees,
Bootsy Collins,
Neil Young,
Marc Almond,
the Swans,
Gabor Szabo,
Thinking Fellers Union Local 282,
Rowland S Howard / Lydia Lunch,
James Chance & The Contortions,
the Sonics,
Alphaville,
Rahsaan Roland Kirk,
D'Angelo,
OOIOO,
Joy Division,
Faust,
Kool G Rap & DJ Polo,
Visionaries,LMNO, T- Love & Iriscience,
Quadrant,
Major Organ And The Adding Machine,
The Modern Lovers,
DJ Style,
Bizarre Inc.,
Moss Icon,
Bush Tetras,
Kerri Chandler,
The Grass Roots,
Rakim,
Oneida,
Magma,
Spandau Ballet,
H. Thieme,
Gil Scott-Heron & Brian Jackson,
Strawberry Alarm Clock,
Organ,
Erasure,
The Selecter, The Selecter, The Selecter, The Selecter.
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.