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 Saudi Arabia and from Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Mojo Men to the techno kids.
I played it at the 40 Watt.
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 Second Layer. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Mr. Review,
Babytalk,
Joensuu 1685,
The Remains,
Soul II Soul,
Piero Umiliani,
Jacob Miller,
Jesper Dahlbäck,
Davy DMX,
Pete Rock & C.L. Smooth,
Bobby Hutcherson,
Nico,
Thee Headcoats,
Max Romeo,
Todd Rundgren,
Angels of Light & Akron/Family,
the Sonics,
Byron Stingily,
AZ,
Lafayette Afro Rock Band,
Ituana,
Procol Harum,
Gregory Isaacs,
Animal Collective,
Roy Ayers,
X-101,
Siouxsie and the Banshees,
Josef K,
Cymande,
Larry & the Blue Notes,
Amon Düül,
James Chance & The Contortions,
Lalo Schifrin,
Pagans,
Kool G Rap & DJ Polo,
Dead Boys,
Clear Light,
Neu!,
Pussy Galore,
Janne Schatter,
Suburban Knight,
Anthony Braxton,
Mary Jane Girls,
The Misunderstood,
Gabor Szabo,
Eurythmics,
Lou Reed,
Heaven 17,
The Count Five,
Popol Vuh,
Gichy Dan,
Desert Stars,
Minny Pops,
Half Japanese,
Skriet,
Bad Manners,
Mantronix,
Kango’s Stein Massive,
Reagan Youth,
Angry Samoans,
Don Cherry,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.