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 Maldives and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Delhi 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 guitar 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 Quando Quango to the techno kids.
I played it at the Roxy.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
Sugar Minott,
Louis and Bebe Barron,
Carl Craig,
Alison Limerick,
Brass Construction,
The Tremeloes,
Skaos,
Sun City Girls,
Red Lorry Yellow Lorry,
Todd Terry,
Bob Dylan,
Ajijia Myrayebe,
Laurel Aitken,
It's A Beautiful Day,
Eve St. Jones,
Hardrive,
Richard Hell and the Voidoids,
The Monks,
Bush Tetras,
Minutemen,
Erykah Badu,
Blancmange,
Rahsaan Roland Kirk,
Excepter,
Mo-Dettes,
Parry Music,
The Buckinghams,
Ice-T,
Black Bananas,
Wolf Eyes,
Suburban Knight,
Agitation Free,
Echo & the Bunnymen,
Symarip,
Hasil Adkins,
Lizzy Mercier Descloux,
Crime,
Yusef Lateef,
Intrusion,
Pulsallama,
David McCallum,
Minnie Riperton,
Sound Behaviour,
The Wake,
Blossom Toes,
Funky Four + One,
Sunsets and Hearts,
Mantronix,
The Flesh Eaters,
New York Dolls,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
Throbbing Gristle,
Desert Stars,
Alice Coltrane,
The Golliwogs,
Marine Girls,
B.T. Express,
Dorothy Ashby,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.