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 Vietnam and from New York.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Beijing 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 synthesizer 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 The Fuzztones to the disco kids.
I played it at Cafe Wha.
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 Royal Trux. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal disco 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 a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
the Slits,
The Fall,
Nirvana,
Bush Tetras,
Ice-T,
John Lydon,
Steve Hackett,
Shoche,
The Doobie Brothers,
Pulsallama,
Absolute Body Control,
Yazoo,
The Busters,
CMW,
Morten Harket,
Swans,
Max Romeo,
Minutemen,
Barrington Levy,
Procol Harum,
Soulsonic Force,
The Fuzztones,
The Fire Engines,
Flash Fearless,
Pussy Galore,
Rosa Yemen,
Kings Of Tomorrow,
Infiniti,
Nick Cave & The Bad Seeds,
The Kinks,
Marc Romboy vs. Booka Shade,
Chrome,
Alison Limerick,
Amazonics,
Anthony Braxton,
Tears for Fears,
Half Japanese,
Teenage Jesus and the Jerks,
The Move,
Sparks,
Jandek,
Traffic Nightmare,
The Remains,
Soft Cell,
T. Rex,
Notorious Big And Bone Thugs,
Gerry Rafferty,
The Martian,
Roy Ayers,
Andrew Hill,
Flipper,
Guru Guru,
Super Lover Cee & Casanova Rud,
Excepter,
Captain Beefheart & His Magic Band,
Ituana,
Beasts of Bourbon,
Scrapy,
Boredoms,
Interpol,
The Modern Lovers,
The Slits, The Slits, The Slits, The Slits.
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.