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 Madagascar and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Röyhkä ja Rättö ja Lehtisalo 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 Count Five. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
The Leaves,
Suicide,
X-101,
Connie Case,
Kool G Rap & DJ Polo,
Ten City,
Eric Dolphy,
The Electric Prunes,
The Golliwogs,
Lee Hazlewood,
Be Bop Deluxe,
Bauhaus,
Dual Sessions,
Skriet,
Essential Logic,
The Cure,
The Shadows of Knight,
The Fortunes,
Aloha Tigers,
Man Eating Sloth,
Blancmange,
The Offenders,
The Mojo Men,
Tim Buckley,
Brass Construction,
DJ Style,
Camberwell Now,
Bizarre Inc.,
Rekid,
Main Source,
The United States of America,
The Divine Comedy,
Mad Mike,
PIL,
Jandek,
Oppenheimer Analysis,
K-Klass,
Terrestrial Tones,
The Music Machine,
Lou Reed & John Cale,
Pere Ubu,
Andrew Hill,
Ultimate Spinach,
Parry Music,
Josef K,
The Walker Brothers,
Ludus,
Archie Shepp,
Slave,
The Dead C,
The Litter,
Eric B and Rakim,
Scott Walker + Sunn O))),
Oneida,
X-Ray Spex,
Scott Walker,
Hardrive,
Brick,
Funky Four + One,
Sun Ra Arkestra,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.