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 Angola and from Salvador.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 China Crisis to the crunk 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 ABC. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Ornette Coleman 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
The Cosmic Jokers,
Mark Hollis,
Anthony Braxton,
Black Moon,
UT,
Jerry Gold Smith,
The Golliwogs,
The Slackers,
John Cale,
Drexciya,
Absolute Body Control,
Radiopuhelimet,
Rhythm & Sound,
D'Angelo,
Robert Hood,
The Slits,
Porter Ricks,
Todd Terry,
Sällskapet,
Don Cherry,
Bootsy Collins,
Suburban Knight,
Lou Reed,
Dorothy Ashby,
Barrington Levy,
Thee Headcoats,
The Dave Clark Five,
Grandmaster Flash,
Chris Corsano,
Television,
Interpol,
Eve St. Jones,
The Techniques,
Sex Pistols,
T.S.O.L.,
K-Klass,
The Jesus and Mary Chain,
Slave,
Hashim,
Rufus Thomas,
The Kinks,
Laurel Aitken,
Bobby Hutcherson,
The Sound,
Q65,
Public Image Ltd.,
Black Flag,
Yaz,
Terror Squad Feat. Camron,
Kenny Larkin,
Lafayette Afro Rock Band,
Major Organ And The Adding Machine,
These Immortal Souls,
London Community Gospel Choir,
Barbara Tucker,
The Flesh Eaters,
Au Pairs,
The Seeds,
Faraquet,
Model 500,
Stockholm Monsters,
Faust,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.