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 Bhutan and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Mad Mike to the rock kids.
I played it at CBGB's.
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 Porter Ricks. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a spring reverb 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 arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Arthur Verocai,
The Mummies,
Harry Pussy,
Nils Olav,
Peter & Gordon,
Dave Gahan,
A Flock of Seagulls,
The Fall,
DeepChord presents Echospace,
Youth Brigade,
Monolake,
Peter and Kerry,
Scrapy,
Tomorrow,
Adolescents,
John Coltrane,
Kerrie Biddell,
Black Pus,
Chrome,
CMW,
Lightning Bolt,
The Selecter,
Robert Görl,
Soulsonic Force,
The Angels of Light,
Tim Buckley,
David Axelrod,
PIL,
Japan,
MDC,
R.M.O.,
48th St. Collective,
Sällskapet,
Louis and Bebe Barron,
Rotary Connection,
Harpers Bizarre,
X-102,
Cybotron,
Ornette Coleman,
The Slits,
Peter Gordon & Love of Life Orchestra,
Popol Vuh,
Curtis Mayfield,
Bad Manners,
Rekid,
Lou Reed,
Soul II Soul,
Sonic Youth,
Los Fastidios,
Faust,
Half Japanese,
Amon Düül II,
Nik Kershaw,
Theoretical Girls,
Sly & The Family Stone,
Roxette,
Beasts of Bourbon,
Ronan,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.