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 Colombia and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Edmonton and Seoul.
I'm losing my edge to the art-school Tehran 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 The Real Kids to the dance kids.
I played it at the Troubador.
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 Hoover. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Beasts of Bourbon,
Susan Cadogan,
CMW,
48th St. Collective,
UT,
Ice-T,
Flamin' Groovies,
The Pretty Things,
Michelle Simonal,
Cabaret Voltaire,
The Modern Lovers,
Ituana,
Chrome,
Pierre Henry,
Grey Daturas,
Camouflage,
Infiniti,
Cymande,
Circle Jerks,
Banda Bassotti,
Sällskapet,
Pet Shop Boys,
OOIOO,
the Germs,
Lucky Dragons,
Wire,
Boredoms,
The Names,
Röyhkä ja Rättö ja Lehtisalo,
Black Moon,
Gichy Dan,
Connie Case,
Funky Four + One,
Kool G Rap & DJ Polo,
Saccharine Trust,
Andrew Ashong & Theo Parrish,
The Monks,
The Electric Prunes,
Warsaw,
Joe Smooth,
Agent Orange,
Dual Sessions,
Deadbeat,
Gerry Rafferty,
Graham Central Station,
Das Ding,
Davy DMX,
Aural Exciters,
Can,
Lungfish,
Sticky Fingaz feat. Raekwon,
Sexual Harrassment,
The Birthday Party,
Kevin Saunderson,
World's Most,
Amazonics,
Anthony Braxton,
Unrelated Segments,
Rhythim Is Rhythim,
The Smiths,
Aaron Thompson,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.