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 France and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lille and Calgary.
I'm losing my edge to the art-school Bologna 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 güiro 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 Suburban Knight to the dance kids.
I played it at the Spitz.
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 Walker Brothers. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Pet Shop Boys 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Black Flag,
Louis and Bebe Barron,
Q and Not U,
Art Ensemble Of Chicago,
48th St. Collective,
Fort Wilson Riot,
Peter Gordon & Love of Life Orchestra,
The Raincoats,
Liliput,
Strawberry Alarm Clock,
The Blues Magoos,
Gian Franco Pienzio,
Manfred Mann's Earth Band,
Ken Boothe,
Gang Starr,
Inner City,
a-ha,
Girls At Our Best!,
David Axelrod,
The Slackers,
Wire,
Mad Mike,
Supertramp,
Main Source,
Swell Maps,
the Soft Cell,
Darondo,
The Shadows of Knight,
Dead Boys,
The Dave Clark Five,
The Flesh Eaters,
Colin Newman,
The Knickerbockers,
Sonny Sharrock,
Joyce Sims,
The Cramps,
The West Coast Pop Art Experimental Band,
Tom Boy,
L. Decosne,
Quando Quango,
Roxy Music,
Dawn Penn,
Marmalade,
Albert Ayler,
Nas,
Rahsaan Roland Kirk,
The New Christs,
Hoover,
Sixth Finger,
Youth Brigade,
The Durutti Column,
James White and The Blacks,
Notorious BIG live in Amsterdam,
The Misunderstood,
Roy Ayers Ubiquity,
Cabaret Voltaire,
Kango’s Stein Massive,
Intrusion,
New Age Steppers,
Jeru the Damaja,
Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog.
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.