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 Dominican Republic and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school London 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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Jesper Dahlbäck to the rock kids.
I played it at Trash.
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 One Last Wish. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Spandau Ballet,
Zero Boys,
Tomorrow,
Masters at Work,
Roxette,
The Seeds,
The Music Machine,
K-Klass,
Massinfluence,
The Trojans,
Country Teasers,
Reuben Wilson,
Don Cherry,
Johnny Clarke,
Roy Ayers,
Television,
Gary Puckett & The Union Gap,
Stiv Bators,
OOIOO,
Johnny Osbourne,
Lou Reed & Metallica,
Grey Daturas,
Dead Boys,
Unrelated Segments,
Hoover,
Wire,
Sly & The Family Stone,
UT,
Pere Ubu,
Kool G Rap & DJ Polo,
The Pop Group,
Model 500,
Eric Dolphy,
Sticky Fingaz feat. Raekwon,
The Kinks,
Jawbox,
Visionaries,LMNO, T- Love & Iriscience,
Gil Scott-Heron and Jamie xx,
Jeff Mills,
Todd Terry,
Radiopuhelimet,
Subhumans,
Mo-Dettes,
Shoche,
The Human League,
John Holt,
Crispy Ambulance,
Can,
Marine Girls,
Toni Rubio,
Yazoo,
The Flesh Eaters,
Gastr Del Sol,
the Slits,
Drive Like Jehu,
Eyeless In Gaza,
David Bowie,
Animal Collective,
China Crisis,
Sexual Harrassment,
Maleditus Sound,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.