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 Estonia 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 1961 to 1970.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Johannesburg 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Yaz to the electroclash kids.
I played it at the Astoria.
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 Minny Pops. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Maleditus Sound 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Mad Mike,
Country Joe & The Fish,
Theoretical Girls,
Grauzone,
Urselle,
Lebanon Hanover,
Nils Olav,
Soft Machine,
Terry Callier,
Rotary Connection,
China Crisis,
Bluetip,
Lou Christie,
Rhythm & Sound,
Public Enemy,
Adolescents,
Ossler,
Metal Thangz,
Laurel Aitken,
Davy DMX,
The Moody Blues,
Pagans,
Visionaries,LMNO, T- Love & Iriscience,
Reagan Youth,
Supertramp,
The Dirtbombs,
Thinking Fellers Union Local 282,
Spandau Ballet,
Inner City,
B.T. Express,
Neil Young,
Y Pants,
Cabaret Voltaire,
The Standells,
Gian Franco Pienzio,
Bobby Sherman,
Yazoo,
Don Cherry,
One Last Wish,
Vainqueur,
Alice Coltrane,
EPMD,
The Vogues,
The Dead C,
Sex Pistols,
Marc Almond,
Cymande,
The Modern Lovers,
Sight & Sound,
Ultramagnetic MC's,
OOIOO,
David McCallum,
Hashim,
Lonnie Liston Smith,
Todd Terry,
Sly & The Family Stone,
Gichy Dan,
Rhythim Is Rhythim,
the Bar-Kays,
Scott Walker,
Con Funk Shun,
Public Image Ltd.,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.