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 Honduras and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Tehran 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 Chic practice in a loft in New York.
I was working on the spring reverb 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 The Moleskins to the techno 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 Average White Band. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Country Joe & The Fish,
Bizarre Inc.,
Drive Like Jehu,
Warsaw,
Kool G Rap & DJ Polo,
Rowland S Howard / Lydia Lunch,
Bootsy's Rubber Band,
Spoonie Gee,
KRS-One,
kango's stein massive,
Bobbi Humphrey,
Henry Cow,
The Skatalites,
Audionom,
Pharaoh Sanders and the Fire Engines,
Bad Manners,
Mary Jane Girls,
Connie Case,
Mission of Burma,
Goldenarms,
Infiniti,
Zapp,
The Offenders,
Grauzone,
Liaisons Dangereuses,
Subhumans,
The Peanut Butter Conspiracy,
FM Einheit,
Peter and Kerry,
Pussy Galore,
Ossler,
Motorama,
PIL,
The Gories,
Nirvana,
Trumans Water,
The Invisible,
Altered Images,
Amon Düül II,
Nation of Ulysses,
Blake Baxter,
Funkadelic,
The United States of America,
Rhythm & Sound,
The Fugs,
Young Marble Giants,
Letta Mbulu,
The Associates,
John Holt,
Bang On A Can,
Lyres,
Derrick May,
Lightning Bolt,
Soul II Soul,
Tommy Roe,
Avey Tare's Slasher Flicks,
The Shadows of Knight,
Mantronix,
Pole,
Loose Ends,
Avey Tare,
Fifty Foot Hose,
The Names,
Section 25, Section 25, Section 25, Section 25.
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.