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 Taiwan and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Manila 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Average White Band to the crunk kids.
I played it at the Hacienda.
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 Das Ding. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Notorious Big And Bone Thugs,
Andrew Ashong & Theo Parrish,
Idris Muhammad,
Joe Smooth,
Adolescents,
Qualms,
Severed Heads,
Louis and Bebe Barron,
Roy Ayers,
Q and Not U,
Lee Hazlewood,
Gabor Szabo,
Archie Shepp,
The Beau Brummels,
Harmonia,
Neil Young & Crazy Horse,
The Move,
Trumans Water,
Supertramp,
Cal Tjader,
Country Joe & The Fish,
The Chocolate Watch Band,
The Men They Couldn't Hang,
Spoonie Gee,
LL Cool J,
the Soft Cell,
Silicon Teens,
Royal Trux,
Mo-Dettes,
Fifty Foot Hose,
Scott Walker,
Sandy B,
Delon & Dalcan,
Janne Schatter,
The Barracudas,
Dave Gahan,
Robert Görl,
Gil Scott-Heron & Brian Jackson,
Livin' Joy,
The Gories,
ABBA,
Stereo Dub,
DJ Sneak,
Ponytail,
Lucky Dragons,
Joe Finger,
The Associates,
Marvin Gaye,
James Chance & The Contortions,
Todd Rundgren,
The Cure,
Rakim,
Cluster,
The Buckinghams,
Public Image Ltd.,
Juan Atkins,
Interpol,
Heavy D & The Boyz,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.