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 Benin and from New York.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Neil Young to the rock kids.
I played it at CBGB's.
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 Judy Mowatt. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Black Dice 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Aural Exciters,
Darondo,
B.T. Express,
Dual Sessions,
the Sonics,
Liliput,
Country Joe & The Fish,
Gil Scott Heron,
Isaac Hayes,
The Trojans,
Deakin,
Kaleidoscope,
Ajijia Myrayebe,
Dark Day,
James Chance & The Contortions,
Ossler,
The Real Kids,
Lungfish,
Flash Fearless,
Rhythm & Sound,
Crispian St. Peters,
8 Eyed Spy,
New Age Steppers,
Hardrive,
Mary Jane Girls,
Heavy D & The Boyz,
Symarip,
Parry Music,
The Neon Judgement,
Neu!,
Bobby Byrd,
Niagra,
The Cowsills,
Funkadelic,
Minor Threat,
Graham Central Station,
Marcia Griffiths,
The Electric Prunes,
Sam Rivers,
Qualms,
Mantronix,
Ornette Coleman,
Jawbox,
Sunsets and Hearts,
Desert Stars,
Pantaleimon,
Gang Gang Dance,
Buzzcocks,
Yazoo,
Make Up,
Eric Dolphy,
Joey Negro,
Amon Düül II,
Marine Girls,
The Black Dice,
De La Soul & Jungle Brothers,
Ten City,
Barrington Levy,
The Smoke,
Gong,
Flipper, Flipper, Flipper, Flipper.
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.