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 Austria and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Bremen 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 chamberlin 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 Country Teasers to the funk kids.
I played it at the Crocodile.
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 Mark Hollis. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The Modern Lovers,
Brand Nubian,
Orchestral Manoeuvres in the Dark,
Leonard Cohen,
Idris Muhammad,
Organ,
Kenny Larkin,
The Litter,
The Mojo Men,
Sällskapet,
Sugar Minott,
Young Marble Giants,
Carl Craig,
Aural Exciters,
New York Dolls,
World's Most,
Vaughan Mason & Crew,
8 Eyed Spy,
Flash Fearless,
Roy Ayers,
Sight & Sound,
Brothers Johnson,
ABBA,
Eve St. Jones,
Selector Dub Narcotic,
Morten Harket,
Connie Case,
48th St. Collective,
Michelle Simonal,
Lakeside,
Alton Ellis,
Joy Division,
Angels of Light & Akron/Family,
Marc Almond,
Metal Thangz,
Soft Cell,
Blancmange,
Kauko Röyhkä ja Narttu,
The Gap Band,
The Durutti Column,
Janne Schatter,
Gil Scott-Heron and Jamie xx,
The Sound,
Minny Pops,
Mr. Review,
Maurizio,
Pagans,
Country Joe & The Fish,
Scion,
Fugazi,
The Moody Blues,
Model 500,
Barclay James Harvest,
Siouxsie and the Banshees,
Bang On A Can,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.