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 Somalia and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Portland 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Standells to the dance kids.
I played it at the Roxy.
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 The Star Department. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
David Axelrod,
The Kinks,
Sandy B,
It's A Beautiful Day,
The Vogues,
Jacob Miller,
T.S.O.L.,
The New Christs,
Fela Kuti,
Harmonia,
Judy Mowatt,
Kerri Chandler,
Country Joe & The Fish,
Eli Mardock,
Main Source,
Guru Guru,
Bootsy Collins,
Ossler,
Popol Vuh,
Lindisfarne,
Grandmaster Flash,
The Invisible,
New Age Steppers,
JFA,
Dorothy Ashby,
Alice Coltrane,
Tres Demented,
The Wake,
Sight & Sound,
Terror Squad Feat. Camron,
Monks,
Lebanon Hanover,
Idris Muhammad,
Terry Callier,
The Saints,
The Star Department,
Jerry Gold Smith,
Masters at Work,
Sun Ra,
Skriet,
Tommy Roe,
Anthony Braxton,
Procol Harum,
Rapeman,
Black Flag,
Marshall Jefferson,
Eurythmics,
Big Daddy Kane,
Mary Jane Girls,
Johnny Osbourne,
Captain Beefheart & His Magic Band,
Orchestral Manoeuvres in the Dark,
Drexciya,
The Barracudas,
The Victims,
Eve St. Jones,
Sun City Girls,
Red Lorry Yellow Lorry,
The Cramps, The Cramps, The Cramps, The Cramps.
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.