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 Lyon.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Jacob Miller to the punk 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 Electric Prunes. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Gichy Dan,
Y Pants,
The Cowsills,
Chris & Cosey,
Little Man,
The Fortunes,
Q and Not U,
Ultra Naté,
Erasure,
The Raincoats,
Severed Heads,
Thee Headcoats,
Cymande,
Anthony Braxton,
Radiopuhelimet,
Bobby Byrd,
Ossler,
Accadde A,
Goldenarms,
Bobby Womack,
Black Pus,
Fatback Band,
Pagans,
Byron Stingily,
The Remains,
Technova,
Ponytail,
Motorama,
Susan Cadogan,
Alton Ellis,
The Fire Engines,
Adolescents,
Lalo Schifrin,
Lee Hazlewood,
Connie Case,
Tim Buckley,
Pulsallama,
Johnny Osbourne,
Mad Mike,
Moss Icon,
The Slackers,
The Count Five,
June Days,
Faraquet,
48th St. Collective,
the Swans,
Mary Jane Girls,
Maleditus Sound,
The Royal Family And The Poor,
The Trojans,
Ornette Coleman,
Fifty Foot Hose,
Manfred Mann's Earth Band,
Radiohead,
Frankie Knuckles,
Rites of Spring,
Aswad,
Henry Cow,
OOIOO,
Sly & The Family Stone,
Lyres,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.