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 Moldova and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Lille and Woodstock.
I'm losing my edge to the art-school Accra 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 güiro 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 Tres Demented to the techno kids.
I played it at Trash.
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 Ajijia Myrayebe. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Ohio Players 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Los Fastidios,
Dead Boys,
World's Most,
Public Image Ltd.,
Selector Dub Narcotic,
Toni Rubio,
Camouflage,
The Modern Lovers,
Con Funk Shun,
Faust,
Pierre Henry,
The New Christs,
Letta Mbulu,
The Alarm Clocks,
Gil Scott-Heron and Jamie xx,
Eric Copeland,
Wire,
Public Enemy,
X-101,
Country Joe & The Fish,
Desert Stars,
Beasts of Bourbon,
ABBA,
Lakeside,
The Birthday Party,
Flipper,
The Offenders,
The Red Krayola,
Big Daddy Kane,
the Bar-Kays,
Alison Limerick,
Tubeway Army,
Tears for Fears,
Todd Rundgren,
Fear,
Amazonics,
Crispy Ambulance,
Josef K,
The Cowsills,
Marine Girls,
Don Cherry,
Junior Murvin,
Matthew Halsall,
Absolute Body Control,
Jerry Gold Smith,
Au Pairs,
the Fania All-Stars,
Eddi Front,
Arthur Verocai,
The Remains,
Scott Walker,
Connie Case,
Amon Düül II,
Aloha Tigers,
The Durutti Column,
Joe Smooth,
The Peanut Butter Conspiracy,
Tres Demented,
Organ,
Shuggie Otis,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.