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 Qatar and from Stockholm.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school London 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 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 Louis and Bebe Barron to the disco kids.
I played it at CBGB's.
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 Skarface. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Suburban Knight 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Sad Lovers and Giants,
Cluster,
Iggy Pop,
a-ha,
Agent Orange,
Dr. Dre and Snoop Doggy Dog,
Grandmaster Flash and the Furious Five,
X-101,
DeepChord presents Echospace,
Pere Ubu,
Bauhaus,
Gerry Rafferty,
Gabor Szabo,
Strawberry Alarm Clock,
Siglo XX,
Technova,
The Gun Club,
The Selecter,
Ken Boothe,
Amon Düül II,
Barry Ungar,
Robert Hood,
Jeff Lynne,
Neu!,
Mandrill,
Con Funk Shun,
Agitation Free,
Robert Wyatt,
Scion,
Bush Tetras,
Graham Central Station,
John Holt,
Moby Grape,
David McCallum,
Newcleus,
The Walker Brothers,
Eve St. Jones,
Lou Reed,
Hasil Adkins,
Morten Harket,
The West Coast Pop Art Experimental Band,
UT,
Leonard Cohen,
The Zeros,
Yusef Lateef,
The Golliwogs,
8 Eyed Spy,
Gong,
The Sonics,
In Retrospect,
Byron Stingily,
Red Lorry Yellow Lorry,
Rhythm & Sound,
Gil Scott-Heron and Jamie xx,
The Gories,
The Motions,
Duran Duran,
Boogie Down Productions,
Brothers Johnson,
The Smoke,
Fugazi, Fugazi, Fugazi, Fugazi.
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.