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 Ivory Coast and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Lille 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Fad Gadget to the funk 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 Boogie Down Productions. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Bob Dylan,
LL Cool J,
The Move,
Peter & Gordon,
Banda Bassotti,
Larry & the Blue Notes,
Boz Scaggs,
Soul Sonic Force,
A Certain Ratio,
Interpol,
the Normal,
the Soft Cell,
Porter Ricks,
Roy Ayers,
The Sonics,
The Knickerbockers,
Rod Modell,
Deutsch Amerikanische Freundschaft,
Charles Mingus,
Gil Scott-Heron & Brian Jackson,
Ultra Naté,
Gichy Dan,
Toni Rubio,
Moebius,
Lyres,
The Kinks,
Suburban Knight,
Andrew Ashong & Theo Parrish,
Oppenheimer Analysis,
Laurel Aitken,
The Dirtbombs,
The Dave Clark Five,
Gil Scott Heron,
Procol Harum,
Sex Pistols,
Sly & The Family Stone,
Cybotron,
Colin Newman,
Joe Smooth,
Lou Reed,
Roxette,
Fad Gadget,
Visage,
Joy Division,
Lightning Bolt,
Camouflage,
The Raincoats,
New Age Steppers,
48th St. Collective,
Goldenarms,
Pulsallama,
Aural Exciters,
Soft Machine,
Yazoo,
Echospace,
Bush Tetras,
F. McDonald,
Essential Logic,
Dr. Dre and Snoop Doggy Dog,
Lalo Schifrin,
Roxy Music,
Teenage Jesus and the Jerks,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.