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 Pakistan and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Electric Prunes to the disco 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 Skriet. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
This Heat,
Groovy Waters,
The Fire Engines,
Drexciya,
The Blues Magoos,
Joe Smooth,
Laurel Aitken,
The Music Machine,
The Associates,
Strawberry Alarm Clock,
Deadbeat,
The Beau Brummels,
LL Cool J,
Magma,
Marc Almond,
Ultimate Spinach,
DeepChord presents Echospace,
Fugazi,
Lakeside,
the Association,
The New Christs,
Fifty Foot Hose,
Ultramagnetic MC's,
The Young Rascals,
The Cowsills,
Louis and Bebe Barron,
Banda Bassotti,
The Tremeloes,
Tom Boy,
Letta Mbulu,
Henry Cow,
Arcadia,
Hardrive,
Liaisons Dangereuses,
Gang Green,
Sonny Sharrock,
Black Flag,
Ten City,
Reuben Wilson,
Smog,
The United States of America,
Gary Puckett & The Union Gap,
Panda Bear,
Harpers Bizarre,
The Slits,
Teenage Jesus and the Jerks,
Wire,
the Slits,
Motorama,
Wolf Eyes,
Wasted Youth,
The Birthday Party,
Gang Gang Dance,
Amon Düül,
June of 44,
Nick Fraelich,
T.S.O.L.,
The Move,
Minnie Riperton,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.