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 Montenegro and from Philadelphia.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Human League to the dance 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 Alice Coltrane. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Alton Ellis,
Boogie Down Productions,
This Heat,
John Lydon,
X-Ray Spex,
Cybotron,
U.S. Maple,
The Vogues,
Alphaville,
Model 500,
Amon Düül II,
Lalann,
Radiohead,
Absolute Body Control,
Stetsasonic,
Banda Bassotti,
Public Enemy,
John Holt,
Brass Construction,
The Names,
Shuggie Otis,
Organ,
Can,
Scion,
Bootsy's Rubber Band,
The Velvet Underground,
The Shadows of Knight,
The Moleskins,
Alison Limerick,
Gerry Rafferty,
The Slits,
Sonic Youth,
The Buckinghams,
Urselle,
The Toasters,
The J.B.'s,
Bang On A Can,
Procol Harum,
Delta 5,
Parry Music,
The American Breed,
Swans,
Todd Terry,
The Kinks,
Don Cherry,
Masters at Work,
Fluxion,
Prince Buster,
Altered Images,
Eddi Front,
Kool G Rap & DJ Polo,
Visage,
The Young Rascals,
Babytalk,
Bauhaus,
Lalo Schifrin,
AZ,
The Monochrome Set,
Pierre Henry,
The Stooges,
Ten City,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.