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 Guatemala and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Portland.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Roxy Music to the funk kids.
I played it at the Astoria.
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 Suburban Knight. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every The Modern Lovers 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 '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
B.T. Express,
Donald Byrd,
Stetsasonic,
Desert Stars,
Ituana,
New York Dolls,
Jandek,
Tim Buckley,
LL Cool J,
Rapeman,
The Names,
Minny Pops,
Charles Mingus,
The Count Five,
The Grass Roots,
Leonard Cohen,
Jeff Lynne,
Man Eating Sloth,
Stockholm Monsters,
Alison Limerick,
Manfred Mann's Earth Band,
Marshall Jefferson,
Avey Tare's Slasher Flicks,
Guru Guru,
Qualms,
The American Breed,
Siglo XX,
Ken Boothe,
Super Lover Cee & Casanova Rud,
The Smoke,
The Martian,
Interpol,
a-ha,
Mark Hollis,
Icehouse,
Archie Shepp,
Dawn Penn,
The Golliwogs,
Roy Ayers,
Amon Düül,
Slick Rick,
The Modern Lovers,
Banda Bassotti,
U.S. Maple,
Jeru the Damaja,
The Standells,
Roxy Music,
Cameo,
Motorama,
Girls At Our Best!,
Suburban Knight,
Harpers Bizarre,
Bootsy Collins,
Nils Olav,
Mandrill,
Shuggie Otis,
The Human League,
Minor Threat,
Jawbox,
Kool G Rap & DJ Polo,
Terrestrial Tones,
Prince Buster,
Quadrant, Quadrant, Quadrant, Quadrant.
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.