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 Australia and from Johannesburg.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Madrid 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 Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator 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 Second Layer to the grunge kids.
I played it at the Crocodile.
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 Eyeless In Gaza. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
John Coltrane,
Jeff Lynne,
Fear,
Donald Byrd,
Glenn Branca,
The Gories,
Y Pants,
Ludus,
The Golliwogs,
Sly & The Family Stone,
The Fortunes,
Quantec,
Patti Smith,
Hasil Adkins,
Schoolly D,
Soft Cell,
Lalann,
Terry Callier,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scratch Acid,
Junior Murvin,
Reagan Youth,
Stiv Bators,
the Sonics,
Eyeless In Gaza,
The Blues Magoos,
Roxette,
The Dead C,
Frankie Knuckles,
Can,
Excepter,
a-ha,
Swell Maps,
Dawn Penn,
The Mummies,
Minny Pops,
Scott Walker,
Popol Vuh,
Man Parrish,
Joensuu 1685,
Vainqueur,
Los Fastidios,
Toni Rubio,
Bobby Sherman,
Richard Hell and the Voidoids,
Black Moon,
Strawberry Alarm Clock,
Harpers Bizarre,
Dark Day,
Todd Terry,
John Cale,
Ultravox,
Black Flag,
Rahsaan Roland Kirk,
Letta Mbulu,
Franke,
James White and The Blacks,
Gary Puckett & The Union Gap,
Bobby Womack,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.