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 Gambia and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Mandrill to the jazz kids.
I played it at the 40 Watt.
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 Residents. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Soul II Soul,
Camberwell Now,
Faust,
A Certain Ratio,
The Seeds,
The Beau Brummels,
Sällskapet,
The Raincoats,
The Neon Judgement,
The Names,
EPMD,
Harmonia,
Amon Düül,
The Leaves,
Röyhkä ja Rättö ja Lehtisalo,
Scott Walker,
Prince Buster,
Minor Threat,
Darondo,
Skriet,
Blake Baxter,
Reagan Youth,
Mary Jane Girls,
Kings Of Tomorrow,
Leonard Cohen,
Eyeless In Gaza,
Panda Bear,
The Shadows of Knight,
A Flock of Seagulls,
Gang Gang Dance,
Terry Callier,
Tubeway Army,
Visage,
Unrelated Segments,
Bobby Sherman,
The Evens,
Lakeside,
Roxette,
Stockholm Monsters,
Warren Ellis,
The Alarm Clocks,
Al Stewart,
Sound Behaviour,
T. Rex,
Junior Murvin,
Hasil Adkins,
DJ Sneak,
Ten City,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Birthday Party,
Half Japanese,
Rosa Yemen,
Godley & Creme,
The Real Kids,
Roy Ayers Ubiquity,
Pylon,
Red Lorry Yellow Lorry,
Barry Ungar,
The Durutti Column,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.