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 Kazakhstan and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Toasters to the crunk 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 The Happenings. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Scan 7 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Electric Light Orchestra,
Piero Umiliani,
Underground Resistance,
Subhumans,
Janne Schatter,
James White and The Blacks,
The Pretty Things,
Bob Dylan,
Parry Music,
AZ,
Nick Cave & The Bad Seeds,
Erasure,
Brass Construction,
The Golliwogs,
James Chance & The Contortions,
T. Rex,
Q65,
Angry Samoans,
Lalann,
Gastr Del Sol,
Public Enemy,
MDC,
The Monks,
Kool G Rap & DJ Polo,
Oneida,
Gregory Isaacs,
Art Ensemble Of Chicago,
Albert Ayler,
Alice Coltrane,
Funkadelic,
The Litter,
Monks,
The Music Machine,
Dave Gahan,
Sugar Minott,
Country Teasers,
The Black Dice,
The Jesus and Mary Chain,
Grandmaster Flash and the Furious Five,
Roxy Music,
Andrew Hill,
Dennis Brown,
Jeru the Damaja,
The Buckinghams,
Minor Threat,
Unwound,
David Axelrod,
Moby Grape,
Ohio Players,
Curtis Mayfield,
A Flock of Seagulls,
Sad Lovers and Giants,
Sparks,
Maurizio,
OOIOO,
Scrapy,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.