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 Malawi and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Stockholm and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 Buzzcocks practice in a loft in Bolton.
I was working on the clarinet 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 Aswad to the funk 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 Urselle. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Television,
Lou Reed & Metallica,
Howard Jones,
The Black Dice,
Unwound,
Crime,
Lou Reed & John Cale,
Scratch Acid,
The Young Rascals,
Bill Near,
Bob Dylan,
The Monks,
James Chance & The Contortions,
Underground Resistance,
Pantytec,
Deepchord,
Fluxion,
Circle Jerks,
Byron Stingily,
Rufus Thomas,
Eli Mardock,
Ash Ra Tempel,
Bobbi Humphrey,
Ohio Players,
The United States of America,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nils Olav,
Harry Pussy,
Roy Ayers Ubiquity,
Bronski Beat,
Basic Channel,
Saccharine Trust,
Aswad,
Hardrive,
Marshall Jefferson,
Symarip,
The Happenings,
Pole,
Livin' Joy,
Matthew Bourne,
Arab on Radar,
Tomorrow,
Eric Dolphy,
Youth Brigade,
Crooked Eye,
Yusef Lateef,
The Residents,
The Standells,
Reuben Wilson,
Chrome,
Kauko Röyhkä ja Narttu,
Strawberry Alarm Clock,
Khruangbin,
The Gladiators,
the Bar-Kays,
Eric B and Rakim,
Jeff Mills,
Shoche,
Ten City,
Deutsch Amerikanische Freundschaft,
The Martian, The Martian, The Martian, The Martian.
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.