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 Burundi and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Portland.
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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro 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 Deepchord to the dance kids.
I played it at the Roxy.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Soft Machine 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Supertramp,
Peter Gordon & Love of Life Orchestra,
Brass Construction,
Kool Moe Dee,
The American Breed,
Niagra,
the Germs,
Susan Cadogan,
Electric Prunes,
The Wake,
Gil Scott-Heron and Jamie xx,
Von Mondo,
Hot Snakes,
Crispian St. Peters,
Soulsonic Force,
Theoretical Girls,
Parry Music,
Wire,
The Barracudas,
Rotary Connection,
Derrick May,
Bang on a Can All-Stars,
The Busters,
Jeru the Damaja,
The Jesus and Mary Chain,
Essential Logic,
Visage,
MDC,
Liliput,
Pharoah Sanders,
Chris Corsano,
Gil Scott-Heron & Brian Jackson,
Chris & Cosey,
Ponytail,
Lafayette Afro Rock Band,
Barbara Tucker,
Patti Smith,
Quando Quango,
Morten Harket,
Tim Buckley,
Sällskapet,
Ornette Coleman,
Harry Pussy,
The Fortunes,
Warsaw,
Wolf Eyes,
Absolute Body Control,
Röyhkä ja Rättö ja Lehtisalo,
Talk Talk,
David Axelrod,
The Monks,
Wally Richardson,
Ralphi Rosario,
X-102,
Godley & Creme,
the Soft Cell,
Tommy Roe,
Gong,
Tears for Fears,
The Remains, The Remains, The Remains, The Remains.
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.