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 Lesotho and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Salvador 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Aaron Thompson to the rap kids.
I played it at the Hacienda.
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 Joe Finger. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal grunge 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 a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Big Daddy Kane,
Dark Day,
Fela Kuti,
Barbara Tucker,
The Litter,
The Detroit Cobras,
Ken Boothe,
Harmonia,
Jeru the Damaja,
Be Bop Deluxe,
Depeche Mode,
Max Romeo,
Roger Hodgson,
Bob Dylan,
Cameo,
Wire,
Rosa Yemen,
Gerry Rafferty,
Country Joe & The Fish,
The Toasters,
E-Dancer,
Ronan,
Kool Moe Dee,
The Residents,
Jesper Dahlbäck,
Drive Like Jehu,
Jerry's Kids,
T.S.O.L.,
Niagra,
Rapeman,
Lou Christie,
Sandy B,
Terror Squad Feat. Camron,
Kool G Rap & DJ Polo,
The Mighty Diamonds,
Public Image Ltd.,
The Kinks,
Funkadelic,
Lyres,
kango's stein massive,
Arthur Verocai,
the Sonics,
The Names,
Ludus,
U.S. Maple,
Dawn Penn,
Aswad,
Fluxion,
Brothers Johnson,
Curtis Mayfield,
Aloha Tigers,
Unrelated Segments,
David Axelrod,
The Stooges,
The Neon Judgement,
Robert Hood,
Ralphi Rosario,
Roy Ayers Ubiquity,
Yellowson,
Lightning Bolt,
Eddi Front,
Television Personalities,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.