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 Singapore and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Portland 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the oboe 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 Ronan to the punk 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 Lower 48. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Tropical Tobacco 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Bang on a Can All-Stars,
Notorious Big And Bone Thugs,
Gil Scott-Heron & Brian Jackson,
Zapp,
Pet Shop Boys,
Sound Behaviour,
The Star Department,
The Neon Judgement,
Bad Manners,
Drive Like Jehu,
Kerri Chandler,
Junior Murvin,
Fort Wilson Riot,
Lucky Dragons,
The J.B.'s,
Eric Dolphy,
Eric B and Rakim,
Curtis Mayfield,
Lower 48,
Rekid,
Bill Wells,
Carl Craig,
Swans,
The Fire Engines,
EPMD,
AZ,
Second Layer,
Royal Trux,
Gil Scott-Heron and Jamie xx,
Joey Negro,
E-Dancer,
Jacob Miller,
Audionom,
Grandmaster Flash,
T. Rex,
Red Lorry Yellow Lorry,
Easy Going,
The Blackbyrds,
Orchestral Manoeuvres in the Dark,
The Birthday Party,
Gian Franco Pienzio,
Crash Course in Science,
Amazonics,
Prince Buster,
London Community Gospel Choir,
Rowland S Howard / Lydia Lunch,
The Barracudas,
Soft Machine,
Underground Resistance,
Crispian St. Peters,
Jesper Dahlback,
Roy Ayers,
The Blues Magoos,
Reuben Wilson,
Monks,
Ultramagnetic MC's,
Symarip,
Shuggie Otis,
Schoolly D,
Bauhaus,
The Dead C, The Dead C, The Dead C, The Dead C.
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.