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 Singapore and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Winnipeg.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Minny Pops to the dance kids.
I played it at the Spitz.
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 Heavy D & The Boyz. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every Stereo Dub 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Pharoah Sanders,
Half Japanese,
Ultravox,
Kas Product,
Malaria!,
The Victims,
World's Most,
The Doobie Brothers,
F. McDonald,
Dr. Dre and Snoop Doggy Dog,
The Electric Prunes,
Crooked Eye,
Sonny Sharrock,
Barbara Tucker,
Gregory Isaacs,
Radio Birdman,
The Fall,
Ultimate Spinach,
Cameo,
Black Flag,
Piero Umiliani,
One Last Wish,
Lalo Schifrin,
Gil Scott Heron,
The Blackbyrds,
The Sound,
The Angels of Light,
Danielle Patucci,
Amon Düül II,
The Seeds,
Tim Buckley,
Moss Icon,
Don Cherry,
Joey Negro,
Moebius,
Al Stewart,
Barrington Levy,
The Velvet Underground,
Andrew Ashong & Theo Parrish,
cv313,
Cal Tjader,
Zapp,
U.S. Maple,
Silicon Teens,
These Immortal Souls,
The Slackers,
Brothers Johnson,
This Heat,
Alton Ellis,
Infiniti,
Outsiders,
Morten Harket,
Youth Brigade,
Maurizio,
Bobby Womack,
The Flesh Eaters,
Index,
Hasil Adkins,
Little Man,
Fatback Band,
The New Christs, The New Christs, The New Christs, The New Christs.
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.