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 Chile and from New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Bremen 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 Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 The Red Krayola to the dance 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 Max Romeo. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal jazz 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 the Germs record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Johnny Clarke,
The Dave Clark Five,
Bootsy Collins,
Bizarre Inc.,
Sexual Harrassment,
Main Source,
Bob Dylan,
MC5,
Cheater Slicks,
La Düsseldorf,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jeru the Damaja,
Sly & The Family Stone,
Lyres,
London Community Gospel Choir,
Dark Day,
The Cure,
Radio Birdman,
Mad Mike,
Stetsasonic,
Bauhaus,
Ralphi Rosario,
Joey Negro,
Smog,
The Searchers,
Rowland S Howard / Lydia Lunch,
Eyeless In Gaza,
Goldenarms,
Gang Green,
Sandy B,
The Slits,
Traffic Nightmare,
Wings,
Von Mondo,
Marc Almond,
The Techniques,
Juan Atkins,
Anakelly,
the Bar-Kays,
Piero Umiliani,
Pharoah Sanders,
Chris & Cosey,
Ituana,
Colin Newman,
Gang of Four,
The Fall,
Robert Görl,
Man Eating Sloth,
Sparks,
Theoretical Girls,
Graham Central Station,
Fad Gadget,
Camron Feat. Memphis Bleek And Beenie Seigel,
Malaria!,
Pharaoh Sanders and the Fire Engines,
Roy Ayers Ubiquity,
Moby Grape,
Brass Construction,
Underground Resistance,
Arthur Verocai,
ABBA,
Radiohead,
The Motions,
The American Breed, The American Breed, The American Breed, The American Breed.
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.