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 El Salvador and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Mexico City 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 Popol Vuh to the rap kids.
I played it at the Spitz.
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 Prince Buster. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Justin Hinds & The Dominoes record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
David Axelrod,
Stetsasonic,
Deakin,
Bootsy's Rubber Band,
Black Sheep,
The Evens,
Niagra,
Lindisfarne,
Sunsets and Hearts,
Anthony Braxton,
Electric Prunes,
Beasts of Bourbon,
The West Coast Pop Art Experimental Band,
Minny Pops,
Yazoo,
James Chance & The Contortions,
Second Layer,
Saccharine Trust,
The Buckinghams,
Eurythmics,
The Gories,
Black Bananas,
Goldenarms,
Skarface,
Rekid,
kango's stein massive,
Ultramagnetic MC's,
the Sonics,
Soul Sonic Force,
Severed Heads,
Kurtis Blow,
Faraquet,
Sex Pistols,
Rosa Yemen,
the Soft Cell,
Charles Mingus,
The Pop Group,
Underground Resistance,
Blake Baxter,
Avey Tare's Slasher Flicks,
the Germs,
the Slits,
Delon & Dalcan,
Sugar Minott,
Blancmange,
Duran Duran,
Quando Quango,
Tim Buckley,
Donald Byrd,
The Offenders,
Joey Negro,
The Golliwogs,
Lebanon Hanover,
Idris Muhammad,
Strawberry Alarm Clock,
Rapeman,
Gary Puckett & The Union Gap,
Cheater Slicks,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.