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 Korea South and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Junior Murvin to the jazz kids.
I played it at the Troubador.
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 Remains. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Mars,
Scratch Acid,
The Vogues,
Main Source,
Scan 7,
The Names,
Joey Negro,
Stockholm Monsters,
Lungfish,
Red Lorry Yellow Lorry,
Aloha Tigers,
Lou Reed & John Cale,
Amon Düül,
Deakin,
Black Flag,
Scrapy,
Tim Buckley,
Thompson Twins,
Marc Almond,
Jerry's Kids,
The Saints,
Fugazi,
Television,
The Alarm Clocks,
Howard Jones,
The Trojans,
Rapeman,
Ossler,
Nation of Ulysses,
In Retrospect,
Crime,
The Seeds,
Average White Band,
Tomorrow,
Pete Rock & C.L. Smooth,
The Fuzztones,
Derrick Morgan,
Cameo,
Bill Near,
James White and The Blacks,
Avey Tare & Kría Brekkan,
The Cramps,
Crispy Ambulance,
Dawn Penn,
Oppenheimer Analysis,
Theoretical Girls,
Ultimate Spinach,
The Angels of Light,
Bad Manners,
Crooked Eye,
Bootsy Collins,
Ken Boothe,
The Detroit Cobras,
Lindisfarne,
kango's stein massive,
Inner City,
UT,
Sight & Sound,
Dead Boys,
Deepchord,
Lizzy Mercier Descloux,
Barry Ungar,
Man Eating Sloth,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.