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 Saudi Arabia and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Eve St. Jones to the crunk kids.
I played it at Trash.
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 Schoolly D. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Ronnie Foster 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 '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett 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?
Bauhaus,
Japan,
Lebanon Hanover,
Simply Red,
U.S. Maple,
Pete Rock & C.L. Smooth,
Zapp,
Lyres,
Aural Exciters,
Connie Case,
Ultimate Spinach,
Deepchord,
Sexual Harrassment,
Archie Shepp,
Godley & Creme,
T.S.O.L.,
The Buckinghams,
Ronan,
Mandrill,
World's Most,
Bluetip,
Gian Franco Pienzio,
John Cale,
Flash Fearless,
Henry Cow,
Marc Almond,
Niagra,
Deutsch Amerikanische Freundschaft,
Barrington Levy,
Sunsets and Hearts,
Parry Music,
Captain Beefheart & His Magic Band,
Crime,
Rufus Thomas,
Loose Ends,
The Mighty Diamonds,
Derrick May,
Oblivians,
Louis and Bebe Barron,
Sex Pistols,
Mark Hollis,
Röyhkä ja Rättö ja Lehtisalo,
Soft Machine,
The Smoke,
Brand Nubian,
Gabor Szabo,
The Modern Lovers,
Bootsy Collins,
Gastr Del Sol,
D'Angelo,
Fugazi,
The Busters,
Monks,
Cameo,
Zero Boys,
Ituana,
The Doobie Brothers,
Skaos,
The Slackers,
Organ,
Slave, Slave, Slave, Slave.
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.