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 Luxembourg and from Cairo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Circle Jerks to the jazz 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 Rhythim Is Rhythim. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Electric Prunes 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Bobby Sherman,
Whodini,
Grandmaster Flash and the Furious Five,
Lonnie Liston Smith,
The Beau Brummels,
UT,
New Age Steppers,
Black Flag,
Das Ding,
Charles Mingus,
Kango’s Stein Massive,
Bauhaus,
Easy Going,
Mad Mike,
Malaria!,
Aloha Tigers,
Erykah Badu,
Sixth Finger,
The Vogues,
Country Joe & The Fish,
Average White Band,
Angry Samoans,
Chris Corsano,
R.M.O.,
Lou Reed,
Camouflage,
Barrington Levy,
Joensuu 1685,
The Invisible,
The Zeros,
Flash Fearless,
The Modern Lovers,
Sun Ra Arkestra,
Rosa Yemen,
The Slits,
The Move,
Piero Umiliani,
Franke,
Joyce Sims,
Joe Smooth,
Teenage Jesus and the Jerks,
Pere Ubu,
Crooked Eye,
The Mighty Diamonds,
Alison Limerick,
the Soft Cell,
LL Cool J,
Cymande,
the Normal,
Negative Approach,
Godley & Creme,
The Sound,
Soft Cell,
Grey Daturas,
Larry & the Blue Notes,
Warsaw,
Drive Like Jehu,
Cecil Taylor,
Y Pants,
The Barracudas,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.