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 Somalia and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Paris.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Lungfish to the grunge kids.
I played it at Cafe Wha.
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 Masters at Work. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Gang Green,
Pulsallama,
Lalann,
Kango’s Stein Massive,
DJ Sneak,
The Sound,
Newcleus,
James White and The Blacks,
the Soft Cell,
Orchestral Manoeuvres in the Dark,
Pharaoh Sanders and the Fire Engines,
Darondo,
The Kinks,
Little Man,
Cameo,
The Chocolate Watch Band,
Loose Ends,
the Normal,
D'Angelo,
Khruangbin,
Connie Case,
Matthew Bourne,
One Last Wish,
Robert Hood,
Pharoah Sanders,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Fugs,
X-101,
The Dirtbombs,
Zapp,
Lizzy Mercier Descloux,
Clear Light,
Faraquet,
Kool Moe Dee,
Pete Rock & C.L. Smooth,
Arab on Radar,
Ultravox,
LL Cool J,
Oppenheimer Analysis,
Surgeon,
the Slits,
Royal Trux,
Ronan,
Scratch Acid,
The Blackbyrds,
Sun City Girls,
Arthur Verocai,
The Saints,
Los Fastidios,
Barbara Tucker,
Kayak,
The Five Americans,
The Mojo Men,
Jacques Brel,
the Sonics,
The Peanut Butter Conspiracy,
Japan, Japan, Japan, Japan.
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.