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 Marshall Islands and from Lagos.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Calgary and Accra.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Invisible to the techno kids.
I played it at the Spitz.
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 Barry Ungar. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Kango’s Stein Massive,
The Leaves,
June Days,
Drexciya,
Silicon Teens,
These Immortal Souls,
Fort Wilson Riot,
Soul II Soul,
A Flock of Seagulls,
Glenn Branca,
Moebius,
Marcia Griffiths,
Black Sheep,
The Alarm Clocks,
Charles Mingus,
Whodini,
Barry Ungar,
Letta Mbulu,
DNA,
Eric Dolphy,
The Pop Group,
Camron Feat. Memphis Bleek And Beenie Seigel,
Donny Hathaway,
Lou Reed & John Cale,
OOIOO,
The Fire Engines,
Nick Cave & The Bad Seeds,
The Busters,
Mantronix,
The Monks,
Stereo Dub,
Avey Tare,
Orchestral Manoeuvres in the Dark,
Lucky Dragons,
Amon Düül,
Mark Hollis,
Minny Pops,
Deakin,
Marc Almond,
Kenny Larkin,
Joyce Sims,
Lonnie Liston Smith,
Radiohead,
Livin' Joy,
The Gories,
Procol Harum,
Cybotron,
Nirvana,
Amon Düül II,
De La Soul & Jungle Brothers,
Dorothy Ashby,
Fat Boys,
Marvin Gaye,
Anakelly,
Alison Limerick,
Warsaw,
Japan,
The Men They Couldn't Hang,
Make Up,
Lou Christie,
Terrestrial Tones,
The Standells, The Standells, The Standells, The Standells.
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.