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 Chad and from Delhi.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Columbus.
I'm losing my edge to the art-school London 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator 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 Gerry Rafferty 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 Lou Reed. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Motions 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?
The Detroit Cobras,
The Remains,
Arthur Verocai,
The West Coast Pop Art Experimental Band,
Sugar Minott,
Flipper,
Barbara Tucker,
Rhythim Is Rhythim,
Quadrant,
Selector Dub Narcotic,
The Jesus and Mary Chain,
the Soft Cell,
Pantytec,
Dead Boys,
Ohio Players,
Joey Negro,
Country Joe & The Fish,
Gastr Del Sol,
Pharaoh Sanders and the Fire Engines,
The Angels of Light,
Lebanon Hanover,
Qualms,
Essential Logic,
Ponytail,
Wasted Youth,
The Gladiators,
Vaughan Mason & Crew,
Talk Talk,
Tom Boy,
The United States of America,
Sonic Youth,
Index,
Louis and Bebe Barron,
Flamin' Groovies,
The Toasters,
Crash Course in Science,
Kenny Larkin,
Big Daddy Kane,
Black Moon,
Lee Hazlewood,
Donny Hathaway,
David McCallum,
Wighnomy Brothers & Robag Wruhme,
Delon & Dalcan,
AZ,
Grandmaster Flash and the Furious Five,
Tommy Roe,
Los Fastidios,
Yaz,
Junior Murvin,
Tropical Tobacco,
Liaisons Dangereuses,
the Swans,
48th St. Collective,
Spoonie Gee,
Das Ding,
the Germs,
Moby Grape,
Model 500,
Joe Finger,
The Slits,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.