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 Hungary and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Scott Walker + Sunn O))) to the punk 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 Eric B and Rakim. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every The Fugs 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Warsaw,
Suburban Knight,
Model 500,
David McCallum,
Spandau Ballet,
Sex Pistols,
The Move,
Main Source,
B.T. Express,
Deadbeat,
Lee Hazlewood,
Orchestral Manoeuvres in the Dark,
The Mummies,
The Sisters of Mercy,
Al Stewart,
Roy Ayers,
Sound Behaviour,
Monks,
The Dave Clark Five,
Mark Hollis,
Black Pus,
The Smoke,
John Holt,
The Alarm Clocks,
Second Layer,
Babytalk,
Barbara Tucker,
Soulsonic Force,
Rahsaan Roland Kirk,
Big Daddy Kane,
Dark Day,
Graham Central Station,
Louis and Bebe Barron,
Bootsy's Rubber Band,
Rod Modell,
X-Ray Spex,
Ultra Naté,
The Jesus and Mary Chain,
Groovy Waters,
The Last Poets,
Trumans Water,
Wally Richardson,
The Vogues,
Aaron Thompson,
Visage,
Richard Hell and the Voidoids,
Henry Cow,
Steve Hackett,
Derrick May,
Neil Young & Crazy Horse,
the Bar-Kays,
Black Moon,
Erykah Badu,
Stereo Dub,
Vainqueur,
Pharoah Sanders,
Kas Product,
Massinfluence,
Pulsallama,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.