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 Taiwan and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Taipei.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Lonnie Liston Smith to the jazz kids.
I played it at Trash.
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 Pussy Galore. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every U.S. Maple 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Nick Fraelich,
Roxy Music,
Mark Hollis,
DJ Sneak,
Bobby Byrd,
Yaz,
Johnny Osbourne,
Skarface,
Jesper Dahlback,
Harry Pussy,
Ronnie Foster,
Magazine,
The Pop Group,
Blake Baxter,
Connie Case,
Zero Boys,
Brothers Johnson,
Gabor Szabo,
Sex Pistols,
Lafayette Afro Rock Band,
Cluster,
Black Flag,
The Dirtbombs,
Grandmaster Flash,
The Modern Lovers,
Black Bananas,
The Young Rascals,
Gregory Isaacs,
Idris Muhammad,
John Cale,
Reagan Youth,
Visage,
Jacob Miller,
Pharoah Sanders,
Monolake,
Sad Lovers and Giants,
Captain Beefheart & His Magic Band,
Wally Richardson,
Nils Olav,
Deadbeat,
Gang Starr,
Mary Jane Girls,
MDC,
World's Most,
Harpers Bizarre,
the Bar-Kays,
Fluxion,
Silicon Teens,
Kayak,
Angels of Light & Akron/Family,
Laurel Aitken,
Erasure,
Aaron Thompson,
the Sonics,
Bronski Beat,
Magma,
Das Ding,
Marmalade,
Radio Birdman,
Howard Jones,
the Slits,
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.