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 Portugal and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school New York 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 The American Breed to the funk 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 Funky Four + One. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Fifty Foot Hose,
Con Funk Shun,
Gil Scott Heron,
Letta Mbulu,
The West Coast Pop Art Experimental Band,
Joey Negro,
The Index,
Frankie Knuckles,
Al Stewart,
Andrew Ashong & Theo Parrish,
Mr. Review,
Cameo,
Eric Copeland,
The Mummies,
Scratch Acid,
Traffic Nightmare,
Thompson Twins,
Young Marble Giants,
Davy DMX,
Orchestral Manoeuvres in the Dark,
Sarah Menescal,
Byron Stingily,
KRS-One,
The Cowsills,
Mandrill,
Mantronix,
Marvin Gaye,
Sandy B,
Neu!,
Juan Atkins,
Lou Reed & John Cale,
D'Angelo,
Procol Harum,
Patti Smith,
Fluxion,
Nik Kershaw,
Shuggie Otis,
Crooked Eye,
the Bar-Kays,
Barry Ungar,
Desert Stars,
Robert Wyatt,
Gerry Rafferty,
Manfred Mann's Earth Band,
Goldenarms,
Matthew Bourne,
Tim Buckley,
Louis and Bebe Barron,
The Smoke,
The Leaves,
David McCallum,
Wolf Eyes,
Flipper,
Funkadelic,
Archie Shepp,
Eli Mardock,
Boz Scaggs,
The Cramps,
Terror Squad Feat. Camron,
Main Source,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.