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 Luxembourg and from Toronto.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Johannesburg 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 808 sounds with much patience.
I was there when Lou Reed 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 Deadbeat to the dance kids.
I played it at the Crocodile.
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 X-102. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal punk 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Jacob Miller,
D'Angelo,
Grandmaster Flash and the Furious Five,
Public Enemy,
the Swans,
Bluetip,
Joensuu 1685,
Sex Pistols,
The Last Poets,
James Chance & The Contortions,
Kas Product,
Slave,
The Five Americans,
Maurizio,
Alton Ellis,
Minnie Riperton,
The New Christs,
48th St. Collective,
Donald Byrd,
Bush Tetras,
Lucky Dragons,
Danielle Patucci,
Warren Ellis,
Lalo Schifrin,
ABC,
Barrington Levy,
The Vogues,
Banda Bassotti,
Talk Talk,
Bobby Byrd,
Derrick May,
Marc Almond,
The J.B.'s,
Groovy Waters,
Aural Exciters,
R.M.O.,
La Düsseldorf,
Grauzone,
Joe Finger,
Laurel Aitken,
Manfred Mann's Earth Band,
The Motions,
The United States of America,
Althea and Donna,
The Raincoats,
Suicide,
MC5,
Gichy Dan,
Josef K,
L. Decosne,
London Community Gospel Choir,
Half Japanese,
Unrelated Segments,
Sparks,
The Mummies,
The Smiths,
Black Bananas,
Funkadelic,
June of 44,
Gastr Del Sol,
Colin Newman,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.