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 Antigua and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 Bootsy Collins to the dance 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 Arab on Radar. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Sparks,
Eric Dolphy,
AZ,
In Retrospect,
Eden Ahbez,
the Association,
Aloha Tigers,
The Star Department,
Aaron Thompson,
Ronnie Foster,
Heaven 17,
The Remains,
Faust,
The Evens,
Dead Boys,
Skriet,
Babytalk,
Ultra Naté,
Scientists,
the Slits,
Camberwell Now,
The Seeds,
Public Enemy,
Bang on a Can All-Stars,
Freddie Wadling,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tres Demented,
Sandy B,
Strawberry Alarm Clock,
Oppenheimer Analysis,
Anakelly,
The Zeros,
Maleditus Sound,
Bauhaus,
Gian Franco Pienzio,
China Crisis,
Jeff Lynne,
The Human League,
Kool Moe Dee,
Dennis Brown,
Lakeside,
The Fugs,
The Dave Clark Five,
Bad Manners,
ABC,
Little Man,
Black Pus,
Avey Tare,
Whodini,
The Five Americans,
The Cosmic Jokers,
The Modern Lovers,
John Holt,
The Dirtbombs,
U.S. Maple,
Quando Quango,
Zapp,
Suburban Knight,
The Gories,
Notorious Big And Bone Thugs,
Faraquet, Faraquet, Faraquet, Faraquet.
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.