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 Turkmenistan and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Beijing 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 harpsichord 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 Smog to the rock 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 Scion. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Hasil Adkins 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
Minny Pops,
Joy Division,
Nico,
James White and The Blacks,
Bobby Sherman,
Rekid,
Vaughan Mason & Crew,
Tres Demented,
Schoolly D,
Spandau Ballet,
Lucky Dragons,
Grandmaster Flash,
Don Cherry,
JFA,
Sonny Sharrock,
One Last Wish,
OOIOO,
Banda Bassotti,
Junior Murvin,
Hoover,
Sun City Girls,
Al Stewart,
Ten City,
Avey Tare's Slasher Flicks,
Icehouse,
Röyhkä ja Rättö ja Lehtisalo,
The Vogues,
Max Romeo,
Barry Ungar,
Lou Reed,
Jacques Brel,
Traffic Nightmare,
Ornette Coleman,
Basic Channel,
the Normal,
Erasure,
Colin Newman,
Bluetip,
Amon Düül II,
John Holt,
Crispian St. Peters,
Drive Like Jehu,
The Cramps,
Sonic Youth,
Bad Manners,
Parry Music,
Richard Hell and the Voidoids,
Gong,
Kauko Röyhkä ja Narttu,
The Gap Band,
The Misunderstood,
Red Lorry Yellow Lorry,
Michelle Simonal,
Mo-Dettes,
Barrington Levy,
Mission of Burma,
T. Rex,
Alice Coltrane,
48th St. Collective,
Masters at Work,
Black Moon, Black Moon, Black Moon, Black Moon.
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.