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 India and from Copenhagen.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Junior Murvin to the rock kids.
I played it at the 40 Watt.
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 Underground Resistance. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Tears for Fears,
Gil Scott-Heron and Jamie xx,
Hardrive,
Dead Boys,
Gil Scott Heron,
The American Breed,
Archie Shepp,
Grauzone,
Sällskapet,
Accadde A,
Marshall Jefferson,
Cameo,
Easy Going,
LL Cool J,
The Smiths,
The Durutti Column,
The Slackers,
Quadrant,
Anakelly,
The Real Kids,
The Buckinghams,
Gary Puckett & The Union Gap,
Rufus Thomas,
Dawn Penn,
Dennis Brown,
Pete Rock & C.L. Smooth,
The Fire Engines,
The Grass Roots,
Morten Harket,
Agent Orange,
UT,
The Star Department,
Shuggie Otis,
Warsaw,
Dorothy Ashby,
Surgeon,
Soulsonic Force,
Mark Hollis,
Sparks,
The Fortunes,
Crispian St. Peters,
Circle Jerks,
Wally Richardson,
The Saints,
a-ha,
Terry Callier,
Lebanon Hanover,
Howard Jones,
Heaven 17,
The Modern Lovers,
Absolute Body Control,
Marcia Griffiths,
Scion,
Black Flag,
Ohio Players,
Skarface,
Notorious BIG live in Amsterdam,
Altered Images,
Delta 5,
The Names,
Nils Olav,
China Crisis,
Aural Exciters,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.