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 Malta and from Jakarta.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Glasgow 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 Human League practice in a loft in Sheffield.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Circle Jerks to the rap kids.
I played it at the Troubador.
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 Swans. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Roy Ayers Ubiquity,
B.T. Express,
David Axelrod,
The Alarm Clocks,
The Doors,
Black Bananas,
Ronnie Foster,
The Red Krayola,
Ultra Naté,
Vladislav Delay,
Pere Ubu,
Lalo Schifrin,
Funkadelic,
Byron Stingily,
Los Fastidios,
Wally Richardson,
John Cale,
Michelle Simonal,
Model 500,
Jeff Lynne,
Jacob Miller,
Blossom Toes,
The Evens,
The Neon Judgement,
Anakelly,
Grey Daturas,
Kool G Rap & DJ Polo,
Joensuu 1685,
Section 25,
Arcadia,
Moby Grape,
Qualms,
World's Most,
Spandau Ballet,
Sugar Minott,
Mary Jane Girls,
Grandmaster Flash,
Mission of Burma,
Vainqueur,
The Sound,
Royal Trux,
Q and Not U,
The Sonics,
The Real Kids,
Faraquet,
The Doobie Brothers,
Alice Coltrane,
Amazonics,
the Germs,
Terrestrial Tones,
The Martian,
Ralphi Rosario,
Marshall Jefferson,
Ituana,
Gil Scott Heron,
Wings, Wings, Wings, Wings.
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.