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 Cape Verde and from Columbus.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 Smoke 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 Notorious Big And Bone Thugs. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
48th St. Collective,
Sam Rivers,
The Offenders,
8 Eyed Spy,
Nico,
Suicide,
Don Cherry,
Sparks,
Magazine,
Drexciya,
Surgeon,
L. Decosne,
The Flesh Eaters,
Minor Threat,
ABBA,
David Bowie,
John Cale,
The Sisters of Mercy,
Sandy B,
Kerri Chandler,
Isaac Hayes,
Gil Scott-Heron & Brian Jackson,
Aaron Thompson,
The Slits,
Colin Newman,
The Sound,
KRS-One,
Grandmaster Flash,
Rapeman,
The Electric Prunes,
Goldenarms,
Anthony Braxton,
Wire,
Marcia Griffiths,
Max Romeo,
Sunsets and Hearts,
Derrick Morgan,
Roxette,
Black Pus,
The Smiths,
The Alarm Clocks,
Tears for Fears,
Outsiders,
Anakelly,
The Human League,
K-Klass,
Visionaries,LMNO, T- Love & Iriscience,
The Dead C,
Tom Boy,
Skarface,
Ultravox,
Pussy Galore,
Jimmy McGriff,
The Last Poets,
Pharaoh Sanders and the Fire Engines,
Piero Umiliani,
John Coltrane,
Ultimate Spinach,
The Victims,
Tubeway Army,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.