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 Rwanda and from Calgary.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Shanghai.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes 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 Mary Jane Girls to the funk kids.
I played it at the Roxy.
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 The Modern Lovers. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
T.S.O.L.,
Eli Mardock,
The Cramps,
Skarface,
The Mighty Diamonds,
The Golliwogs,
Todd Rundgren,
Maleditus Sound,
Johnny Osbourne,
Scrapy,
The Motions,
Gang of Four,
Lebanon Hanover,
Ten City,
Das Ding,
Frankie Knuckles,
Angry Samoans,
Joensuu 1685,
The Moleskins,
The Move,
Jerry Gold Smith,
Marc Romboy vs. Booka Shade,
X-101,
Wasted Youth,
Infiniti,
The Invisible,
F. McDonald,
Essential Logic,
the Association,
The Knickerbockers,
Country Teasers,
Aloha Tigers,
Thompson Twins,
Stiv Bators,
Barbara Tucker,
Teenage Jesus and the Jerks,
Kerrie Biddell,
The Fugs,
Gerry Rafferty,
Dual Sessions,
Pussy Galore,
the Human League,
Urselle,
The Gap Band,
Lee Hazlewood,
Sparks,
Livin' Joy,
Josef K,
Mad Mike,
Grey Daturas,
Rhythm & Sound,
Crispian St. Peters,
Fear,
EPMD,
Dorothy Ashby,
E-Dancer,
Theoretical Girls,
Q65,
Grauzone,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.