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 St Kitts & Nevis and from Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Monolake 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 Ludus. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal disco 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Soft Cell,
Minnie Riperton,
Arcadia,
ABBA,
Audionom,
The Shadows of Knight,
Glenn Branca,
The Doors,
Crispy Ambulance,
Yusef Lateef,
Grey Daturas,
Pere Ubu,
Gabor Szabo,
Roxy Music,
Harmonia,
Half Japanese,
Bauhaus,
cv313,
Donald Byrd,
Cymande,
The Slits,
Nation of Ulysses,
Sunsets and Hearts,
Bobbi Humphrey,
Max Romeo,
Pylon,
Aswad,
Röyhkä ja Rättö ja Lehtisalo,
Black Bananas,
Blake Baxter,
Davy DMX,
OOIOO,
Bang on a Can All-Stars,
the Germs,
Sugar Minott,
Mr. Review,
The Busters,
China Crisis,
The Sound,
Second Layer,
Thee Headcoats,
The Music Machine,
Jerry's Kids,
Piero Umiliani,
Brass Construction,
Yellowson,
Maleditus Sound,
Eric B and Rakim,
Organ,
Q65,
EPMD,
Average White Band,
Anthony Braxton,
The Cure,
Donny Hathaway,
Notorious Big And Bone Thugs,
The Durutti Column,
The Barracudas,
Arthur Verocai,
Circle Jerks,
Red Lorry Yellow Lorry,
Patti Smith,
Interpol, Interpol, Interpol, Interpol.
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.