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 Barbados and from Glasgow.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Dawn Penn to the jazz 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 Dual Sessions. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
JFA,
The Modern Lovers,
Avey Tare's Slasher Flicks,
Neil Young,
the Germs,
Lou Reed & John Cale,
Ultimate Spinach,
Ash Ra Tempel,
Little Man,
Von Mondo,
James Chance & The Contortions,
Robert Wyatt,
Davy DMX,
Steve Hackett,
cv313,
The Evens,
Suburban Knight,
The Pop Group,
Eden Ahbez,
Echospace,
Cluster,
Andrew Hill,
48th St. Collective,
Donald Byrd,
The Cowsills,
New Order,
FM Einheit,
The Divine Comedy,
Index,
Public Image Ltd.,
David McCallum,
Sonic Youth,
Mars,
Peter and Kerry,
Basic Channel,
Sight & Sound,
T. Rex,
Soft Cell,
Fat Boys,
The Index,
Camberwell Now,
Funkadelic,
The Monochrome Set,
Model 500,
The Human League,
Magma,
Arthur Verocai,
Matthew Halsall,
Radiopuhelimet,
Marc Almond,
Lebanon Hanover,
Mandrill,
Monolake,
Rahsaan Roland Kirk,
Nik Kershaw,
Lyres,
The Flesh Eaters,
Dennis Brown,
Goldenarms,
Max Romeo,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.