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 Tonga and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Gabor Szabo to the funk kids.
I played it at the 40 Watt.
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 Television. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Thompson Twins,
Connie Case,
The Techniques,
David Bowie,
Essential Logic,
Derrick Morgan,
Livin' Joy,
Zero Boys,
E-Dancer,
Andrew Ashong & Theo Parrish,
Bobby Womack,
Alice Coltrane,
Spandau Ballet,
Sonny Sharrock,
Harpers Bizarre,
The Leaves,
Girls At Our Best!,
Henry Cow,
Suburban Knight,
Lou Reed,
June Days,
Sandy B,
Rhythm & Sound,
Mantronix,
Arcadia,
Nick Fraelich,
The Evens,
The Gun Club,
The Pretty Things,
Hoover,
Massinfluence,
Inner City,
The Electric Prunes,
Parry Music,
Laurel Aitken,
Gang Starr,
Altered Images,
Talk Talk,
Isaac Hayes,
Jerry Gold Smith,
Lee Hazlewood,
Circle Jerks,
Wighnomy Brothers & Robag Wruhme,
Nico,
Nation of Ulysses,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gabor Szabo,
Susan Cadogan,
The Last Poets,
The Move,
CMW,
Absolute Body Control,
Silicon Teens,
Marmalade,
Drive Like Jehu,
Gang of Four,
Joe Finger,
Minny Pops,
The Martian,
Jerry's Kids,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.