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 Australia and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Mexico City 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Sparks to the dance 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 Moebius. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Alton Ellis,
Tomorrow,
ABBA,
Sight & Sound,
The Associates,
Deepchord,
Parry Music,
EPMD,
Theoretical Girls,
Marmalade,
Mo-Dettes,
Silicon Teens,
Bobby Hutcherson,
Drexciya,
The Grass Roots,
Nick Cave & The Bad Seeds,
Ralphi Rosario,
Mars,
James White and The Blacks,
Y Pants,
Colin Newman,
Brick,
Main Source,
La Düsseldorf,
Jesper Dahlbäck,
Joe Smooth,
Gregory Isaacs,
Funkadelic,
The Litter,
Amon Düül II,
Yellowson,
A Flock of Seagulls,
The Raincoats,
Robert Görl,
The Neon Judgement,
The Standells,
a-ha,
Crash Course in Science,
Avey Tare's Slasher Flicks,
Fad Gadget,
Lou Reed,
Teenage Jesus and the Jerks,
Pharaoh Sanders and the Fire Engines,
The Names,
Peter & Gordon,
Louis and Bebe Barron,
Roy Ayers Ubiquity,
Dennis Brown,
Sunsets and Hearts,
Country Joe & The Fish,
Althea and Donna,
Prince Buster,
Man Parrish,
World's Most,
Moss Icon,
The Dead C,
Gang Starr,
Country Teasers,
Fear,
Kenny Larkin,
Fat Boys,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.