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 Barbados and from Seoul.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Cairo.
I'm losing my edge to the art-school Philadelphia 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 808 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 The Moody Blues to the grunge kids.
I played it at the Hacienda.
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 L. Decosne. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Al Stewart 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Tubeway Army,
Gichy Dan,
Electric Light Orchestra,
Cameo,
Harpers Bizarre,
Masters at Work,
The Gun Club,
Jesper Dahlbäck,
Gang of Four,
F. McDonald,
June Days,
The Blackbyrds,
Sun Ra Arkestra,
Freddie Wadling,
Sun City Girls,
Neu!,
Lou Reed & Metallica,
Oneida,
The Star Department,
Alton Ellis,
Toni Rubio,
The Count Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fugs,
The Associates,
Gabor Szabo,
Orchestral Manoeuvres in the Dark,
The Fuzztones,
The Royal Family And The Poor,
Ohio Players,
Grandmaster Flash,
The Motions,
John Coltrane,
Kayak,
Yellowson,
The Fortunes,
Fugazi,
Richard Hell and the Voidoids,
The Kinks,
Prince Buster,
Rapeman,
Rakim,
Boogie Down Productions,
Swell Maps,
Tomorrow,
Robert Hood,
OOIOO,
Sound Behaviour,
Negative Approach,
Buzzcocks,
Aloha Tigers,
The Dirtbombs,
Sparks,
The Cowsills,
Johnny Osbourne,
Trumans Water,
Panda Bear,
New York Dolls,
The Martian,
Flipper,
Mr. Review,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.