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 Kiribati and from Spokane.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Tehran 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 sitar 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 Ultra Naté to the disco 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 Sam Rivers. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
John Coltrane,
Flipper,
The Dead C,
Connie Case,
The Golliwogs,
Selector Dub Narcotic,
Sex Pistols,
Public Image Ltd.,
X-102,
Manfred Mann's Earth Band,
Black Pus,
Ultravox,
Scan 7,
The Black Dice,
Moby Grape,
Ossler,
The Happenings,
Rufus Thomas,
Scrapy,
Nils Olav,
Siouxsie and the Banshees,
The Searchers,
Kas Product,
the Fania All-Stars,
Aloha Tigers,
Cameo,
Radio Birdman,
Public Enemy,
Barry Ungar,
Roy Ayers Ubiquity,
Roy Ayers,
Nirvana,
Max Romeo,
Rhythm & Sound,
Wings,
Warren Ellis,
The Monochrome Set,
DeepChord presents Echospace,
The Gun Club,
Panda Bear,
Boogie Down Productions,
Bootsy's Rubber Band,
Erasure,
Harpers Bizarre,
Scientists,
Kauko Röyhkä ja Narttu,
Motorama,
Eden Ahbez,
Davy DMX,
Suicide,
Country Teasers,
Symarip,
Neu!,
Idris Muhammad,
Oblivians,
Loose Ends,
cv313,
The West Coast Pop Art Experimental Band,
Bill Near,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.