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 Nigeria and from Lyon.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Jakarta 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Dark Day to the rock kids.
I played it at the Troubador.
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 Deepchord. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
The Gun Club,
The Busters,
Bootsy Collins,
Yusef Lateef,
Spandau Ballet,
Boredoms,
Aloha Tigers,
Bill Near,
Lee Hazlewood,
The Fuzztones,
Yellowson,
The Gladiators,
the Bar-Kays,
The Remains,
Byron Stingily,
Fluxion,
June Days,
Symarip,
The Tremeloes,
Massinfluence,
Morten Harket,
Patti Smith,
Nils Olav,
Harpers Bizarre,
Cal Tjader,
Derrick Morgan,
The Star Department,
Electric Prunes,
Boogie Down Productions,
Larry & the Blue Notes,
Joensuu 1685,
The Cure,
Lebanon Hanover,
David McCallum,
London Community Gospel Choir,
The Toasters,
Jerry Gold Smith,
Thee Headcoats,
Beasts of Bourbon,
The Black Dice,
Pussy Galore,
Dead Boys,
Jacques Brel,
Ultra Naté,
Piero Umiliani,
OOIOO,
The Human League,
Cecil Taylor,
Art Ensemble Of Chicago,
Fatback Band,
The Last Poets,
The Electric Prunes,
Nirvana,
The Walker Brothers,
T.S.O.L.,
Pole,
Strawberry Alarm Clock,
Zero Boys,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.