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 Montenegro and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Boz Scaggs to the punk kids.
I played it at the Hacienda.
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 The Fuzztones. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Boredoms 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
One Last Wish,
The Knickerbockers,
The Chocolate Watch Band,
Subhumans,
Junior Murvin,
Darondo,
Gian Franco Pienzio,
Sam Rivers,
Jacob Miller,
Piero Umiliani,
the Soft Cell,
Malaria!,
Freddie Wadling,
Kerri Chandler,
Marvin Gaye,
Danielle Patucci,
Roger Hodgson,
The Five Americans,
Anakelly,
Rahsaan Roland Kirk,
Pharaoh Sanders and the Fire Engines,
Black Flag,
Adolescents,
Arcadia,
Deakin,
Bauhaus,
Hoover,
L. Decosne,
Crash Course in Science,
Make Up,
Bobby Hutcherson,
The Monks,
Howard Jones,
DJ Style,
Minutemen,
Intrusion,
Blossom Toes,
The Golliwogs,
Quadrant,
Tomorrow,
The Smiths,
Louis and Bebe Barron,
Black Pus,
The Shadows of Knight,
John Coltrane,
Procol Harum,
Sandy B,
the Fania All-Stars,
The Associates,
Godley & Creme,
The Blues Magoos,
Maurizio,
Robert Görl,
Delta 5,
James White and The Blacks,
Bobby Sherman,
The Selecter,
ABBA,
The Dave Clark Five,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.