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 Uruguay and from Beijing.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 Deutsch Amerikanische Freundschaft to the crunk kids.
I played it at the Crocodile.
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 Drive Like Jehu. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
EPMD,
R.M.O.,
Aaron Thompson,
Black Pus,
The Cowsills,
New Age Steppers,
Traffic Nightmare,
the Germs,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
The Skatalites,
Electric Light Orchestra,
Marine Girls,
X-101,
CMW,
Groovy Waters,
Marc Almond,
Moss Icon,
The Grass Roots,
The Zeros,
Lou Christie,
The Seeds,
Franke,
The Alarm Clocks,
These Immortal Souls,
Inner City,
Basic Channel,
Trumans Water,
Popol Vuh,
Bizarre Inc.,
Jerry's Kids,
Angels of Light & Akron/Family,
Minnie Riperton,
The West Coast Pop Art Experimental Band,
Marmalade,
Louis and Bebe Barron,
John Holt,
Wasted Youth,
Ice-T,
Justin Hinds & The Dominoes,
Michelle Simonal,
Mantronix,
The Mummies,
Dark Day,
It's A Beautiful Day,
UT,
Todd Rundgren,
Ronan,
Super Lover Cee & Casanova Rud,
FM Einheit,
The Moleskins,
Roxy Music,
Rowland S Howard / Lydia Lunch,
Pharoah Sanders,
the Human League,
Tim Buckley,
The Birthday Party,
Liliput,
Neil Young,
K-Klass,
Second Layer, Second Layer, Second Layer, Second Layer.
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.