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 Tanzania and from Hong Kong.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb 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 Ohio Players to the punk kids.
I played it at the Crocodile.
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 Masters at Work. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal electroclash 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 a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Roxy Music,
Rhythim Is Rhythim,
Flamin' Groovies,
Deakin,
Be Bop Deluxe,
Amon Düül II,
The Angels of Light,
Camberwell Now,
The American Breed,
Bootsy Collins,
Pharoah Sanders,
Moby Grape,
John Foxx,
Bizarre Inc.,
Faraquet,
Harmonia,
The Tremeloes,
Terror Squad Feat. Camron,
The Wake,
Half Japanese,
Bush Tetras,
Blossom Toes,
Dorothy Ashby,
James White and The Blacks,
Reuben Wilson,
Brand Nubian,
Sun Ra,
Echospace,
The Slackers,
Lee Hazlewood,
Rahsaan Roland Kirk,
the Swans,
Sonic Youth,
Jimmy McGriff,
The Remains,
The Detroit Cobras,
Simply Red,
Bang On A Can,
Goldenarms,
Hoover,
Joyce Sims,
Ohio Players,
Television Personalities,
Ralphi Rosario,
The Flesh Eaters,
Prince Buster,
Todd Terry,
Das Ding,
Kauko Röyhkä ja Narttu,
Rowland S Howard / Lydia Lunch,
The Electric Prunes,
Neu!,
Kerrie Biddell,
World's Most,
Jawbox,
Alton Ellis,
Josef K,
The Happenings,
The Walker Brothers,
Quantec,
Flash Fearless,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.