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 Sierra Leone and from Manchester.
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 Portland and Shanghai.
I'm losing my edge to the art-school Taipei 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 rhodes 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 The Peanut Butter Conspiracy to the rap 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 Crime. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every The Cramps 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Crash Course in Science,
The Velvet Underground,
Bush Tetras,
The American Breed,
Buzzcocks,
Jandek,
The Human League,
Soul II Soul,
The Stooges,
MDC,
Ultimate Spinach,
ABC,
Harry Pussy,
Chrome,
Pole,
Eyeless In Gaza,
A Certain Ratio,
The Saints,
Sister Nancy,
Gichy Dan,
The Moody Blues,
Icehouse,
Yaz,
Blancmange,
Eddi Front,
Pantaleimon,
The Cowsills,
Cecil Taylor,
Captain Beefheart & His Magic Band,
Beasts of Bourbon,
Sonny Sharrock,
Gian Franco Pienzio,
Röyhkä ja Rättö ja Lehtisalo,
Shoche,
Unrelated Segments,
Rhythim Is Rhythim,
Niagra,
The Searchers,
La Düsseldorf,
Fad Gadget,
Skarface,
The West Coast Pop Art Experimental Band,
The Electric Prunes,
The Pretty Things,
Sly & The Family Stone,
Jeru the Damaja,
Erykah Badu,
Swell Maps,
U.S. Maple,
Ronnie Foster,
Arcadia,
Glenn Branca,
Andrew Ashong & Theo Parrish,
Q and Not U,
Sight & Sound,
Main Source,
PIL,
Cluster,
Soft Machine,
Arthur Verocai,
Flash Fearless,
The Techniques, The Techniques, The Techniques, The Techniques.
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.