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 El Salvador and from Toronto.
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 1969 to 1976.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Toronto 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Saints to the funk kids.
I played it at Cafe Wha.
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 Harmonia. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Junior Murvin,
Gastr Del Sol,
Hashim,
Symarip,
Half Japanese,
Swans,
Louis and Bebe Barron,
Bizarre Inc.,
The Motions,
Man Parrish,
Inner City,
Quadrant,
Kenny Larkin,
Mars,
These Immortal Souls,
The Raincoats,
La Düsseldorf,
Sonic Youth,
Throbbing Gristle,
Joey Negro,
Bobbi Humphrey,
Desert Stars,
Niagra,
James White and The Blacks,
Franke,
Faust,
Lou Reed & John Cale,
Funky Four + One,
John Holt,
Gichy Dan,
Maurizio,
DJ Sneak,
Amon Düül,
John Foxx,
The Gun Club,
Bill Near,
The Flesh Eaters,
Lower 48,
Isaac Hayes,
Jerry's Kids,
Bobby Womack,
K-Klass,
The Stooges,
The Men They Couldn't Hang,
Graham Central Station,
Fifty Foot Hose,
Jacob Miller,
Thompson Twins,
The Divine Comedy,
Terror Squad Feat. Camron,
Can,
Black Pus,
Slave,
Moss Icon,
Camouflage,
Nirvana,
Clear Light,
Hoover,
The Dave Clark Five,
The Skatalites,
Qualms,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.