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 Bulgaria and from Edmonton.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Winnipeg 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Loose Ends to the jazz 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 The Standells. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Neil Young & Crazy Horse,
The Fortunes,
Lonnie Liston Smith,
Steve Hackett,
Warsaw,
The Victims,
DeepChord presents Echospace,
The Vogues,
Adolescents,
The Gladiators,
Heavy D & The Boyz,
The Sonics,
Sarah Menescal,
Toni Rubio,
Liaisons Dangereuses,
Darondo,
Richard Hell and the Voidoids,
Procol Harum,
Gil Scott-Heron and Jamie xx,
The Count Five,
Davy DMX,
Eurythmics,
Clear Light,
Monolake,
the Fania All-Stars,
Bizarre Inc.,
Colin Newman,
Black Flag,
Anakelly,
Bang On A Can,
Pere Ubu,
Joe Finger,
The Music Machine,
Rekid,
Ken Boothe,
Sunsets and Hearts,
Michelle Simonal,
The Skatalites,
This Heat,
Kango’s Stein Massive,
Sugar Minott,
The West Coast Pop Art Experimental Band,
Lafayette Afro Rock Band,
Moebius,
Vladislav Delay,
The Blues Magoos,
Arcadia,
Barry Ungar,
Rapeman,
Piero Umiliani,
Vaughan Mason & Crew,
Stiv Bators,
Siglo XX,
Barbara Tucker,
10cc,
L. Decosne,
Harmonia,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lindisfarne,
X-102,
Sonny Sharrock,
Peter and Kerry,
Das Ding,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.