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 Bangladesh and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 Portland and Philadelphia.
I'm losing my edge to the art-school Calgary 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Bauhaus to the techno 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 Avey Tare's Slasher Flicks. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Michelle Simonal 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Gil Scott-Heron & Brian Jackson,
Black Sheep,
Barry Ungar,
Camron Feat. Jay Z And Juelz,
Brass Construction,
Morten Harket,
Crime,
The Moleskins,
Black Moon,
Masters at Work,
Banda Bassotti,
Flash Fearless,
James White and The Blacks,
The Index,
The Vogues,
Oblivians,
The Birthday Party,
Fela Kuti,
Organ,
Gang Gang Dance,
Marvin Gaye,
Ken Boothe,
Gil Scott Heron,
London Community Gospel Choir,
Jawbox,
Sandy B,
Qualms,
The Buckinghams,
Symarip,
Idris Muhammad,
Ralphi Rosario,
Gerry Rafferty,
Alice Coltrane,
Eurythmics,
Tom Boy,
Audionom,
Fort Wilson Riot,
Andrew Ashong & Theo Parrish,
Notorious Big And Bone Thugs,
Joensuu 1685,
Bizarre Inc.,
Electric Light Orchestra,
Cal Tjader,
Deadbeat,
A Certain Ratio,
Babytalk,
Cheater Slicks,
Avey Tare,
Bauhaus,
Mars,
F. McDonald,
Fugazi,
Man Parrish,
Henry Cow,
Rod Modell,
Girls At Our Best!,
Man Eating Sloth,
Donald Byrd,
Camouflage,
Piero Umiliani,
Half Japanese,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.