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 Canada and from Jakarta.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Madrid and Accra.
I'm losing my edge to the art-school Lagos 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 Feelies practice in a loft in Haledon.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Basic Channel to the electroclash 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 Lee Hazlewood. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Fear,
Gang Starr,
The Divine Comedy,
L. Decosne,
Fatback Band,
Bobby Byrd,
Lyres,
Q and Not U,
Crooked Eye,
Bronski Beat,
Lonnie Liston Smith,
Ash Ra Tempel,
Kings Of Tomorrow,
the Sonics,
Mantronix,
The Last Poets,
The Real Kids,
Oppenheimer Analysis,
Marmalade,
The Selecter,
Soul Sonic Force,
R.M.O.,
Bobbi Humphrey,
UT,
Kerri Chandler,
Black Sheep,
Arcadia,
In Retrospect,
Television,
It's A Beautiful Day,
Avey Tare's Slasher Flicks,
Boogie Down Productions,
Charles Mingus,
Red Lorry Yellow Lorry,
Saccharine Trust,
Lee Hazlewood,
Soft Cell,
The Birthday Party,
Alice Coltrane,
Ultimate Spinach,
DNA,
Bootsy's Rubber Band,
Josef K,
Jesper Dahlbäck,
The Blackbyrds,
Rowland S Howard / Lydia Lunch,
Wolf Eyes,
Das Ding,
The Buckinghams,
Terror Squad Feat. Camron,
Joe Finger,
The Tremeloes,
Dark Day,
Gang Gang Dance,
Massinfluence,
KRS-One,
Los Fastidios,
the Association,
Hot Snakes,
Barrington Levy,
Fela Kuti,
Bang On A Can,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.