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 El Salvador and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Prince Buster to the electroclash 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 The Saints. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Altered Images record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Yaz,
Avey Tare's Slasher Flicks,
Audionom,
Desert Stars,
Dennis Brown,
John Coltrane,
Cluster,
The Saints,
Suburban Knight,
Television Personalities,
Gang Starr,
Sugar Minott,
Janne Schatter,
Barclay James Harvest,
Minnie Riperton,
Aural Exciters,
Gil Scott-Heron & Brian Jackson,
David Bowie,
Kerrie Biddell,
Sonic Youth,
Reuben Wilson,
The Modern Lovers,
Rekid,
Livin' Joy,
Piero Umiliani,
Los Fastidios,
Basic Channel,
Neu!,
Danielle Patucci,
Gang Green,
Grauzone,
Freddie Wadling,
Maleditus Sound,
New York Dolls,
Angels of Light & Akron/Family,
Gastr Del Sol,
Slave,
The Selecter,
Lalann,
The Cure,
Lakeside,
Sarah Menescal,
Roy Ayers Ubiquity,
Röyhkä ja Rättö ja Lehtisalo,
10cc,
Rosa Yemen,
The Young Rascals,
Marshall Jefferson,
Liaisons Dangereuses,
the Association,
T.S.O.L.,
Spandau Ballet,
Soulsonic Force,
Shoche,
The Gap Band,
Technova,
The Skatalites,
KRS-One,
Pharaoh Sanders and the Fire Engines,
Idris Muhammad,
Nirvana,
The Standells,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.