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 Kazakhstan and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Manchester 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 organ 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 Eric Dolphy to the disco kids.
I played it at the Astoria.
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 Lindisfarne. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal jazz 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 an organ 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 Last Poets record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
The Velvet Underground,
Jacques Brel,
The Busters,
The Cowsills,
Rotary Connection,
Strawberry Alarm Clock,
Crime,
Technova,
The Divine Comedy,
The Offenders,
Gabor Szabo,
The Zeros,
Connie Case,
Mars,
The Victims,
Liaisons Dangereuses,
Skriet,
Quadrant,
Fugazi,
Pussy Galore,
Peter Gordon & Love of Life Orchestra,
Judy Mowatt,
Pantytec,
Roxy Music,
Bobbi Humphrey,
Gichy Dan,
Soft Cell,
Richard Hell and the Voidoids,
MC5,
The Jesus and Mary Chain,
Stereo Dub,
E-Dancer,
Moss Icon,
Siouxsie and the Banshees,
Cheater Slicks,
Letta Mbulu,
EPMD,
The Martian,
The Dave Clark Five,
MDC,
Dead Boys,
Sixth Finger,
T.S.O.L.,
The Gladiators,
Camberwell Now,
Bill Near,
Flamin' Groovies,
The Searchers,
Sun City Girls,
Lonnie Liston Smith,
The Slackers,
Faraquet,
The Modern Lovers,
Eyeless In Gaza,
The Red Krayola,
Roxette,
The Peanut Butter Conspiracy,
Ronan,
The Smoke,
The Tremeloes,
Slave,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.