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 Qatar and from London.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Calgary and Portland.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 The Peanut Butter Conspiracy 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 Alarm Clocks. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Porter Ricks 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Girls At Our Best!,
48th St. Collective,
The Real Kids,
Nils Olav,
Terrestrial Tones,
Kool Moe Dee,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soul II Soul,
Little Man,
The Names,
Soft Machine,
Piero Umiliani,
Black Pus,
Alphaville,
E-Dancer,
Skaos,
Manfred Mann's Earth Band,
Pulsallama,
Q65,
Grauzone,
Drexciya,
Sonny Sharrock,
Half Japanese,
Banda Bassotti,
The Knickerbockers,
The Dave Clark Five,
Pierre Henry,
D'Angelo,
Simply Red,
Main Source,
Sugar Minott,
Rowland S Howard / Lydia Lunch,
Scion,
Kaleidoscope,
Shuggie Otis,
The J.B.'s,
Mission of Burma,
Larry & the Blue Notes,
The Searchers,
Louis and Bebe Barron,
Kauko Röyhkä ja Narttu,
Suicide,
Eurythmics,
Leonard Cohen,
Sonic Youth,
Justin Hinds & The Dominoes,
Crime,
Desert Stars,
Ponytail,
Harry Pussy,
Spoonie Gee,
Junior Murvin,
The Sonics,
Minny Pops,
Danielle Patucci,
the Association,
The Chocolate Watch Band,
Drive Like Jehu,
Scrapy,
Gregory Isaacs,
Brick,
Con Funk Shun,
cv313, cv313, cv313, cv313.
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.