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 Ivory Coast and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Manchester 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 1968 at the first Can practice in a loft in Cologne.
I was working on the guitar 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 Shuggie Otis to the grime 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 Eve St. Jones. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Ultravox,
KRS-One,
Jeru the Damaja,
Chrome,
Suburban Knight,
The Move,
Amazonics,
Max Romeo,
Lou Reed & Metallica,
The Fall,
The Invisible,
Livin' Joy,
E-Dancer,
Tim Buckley,
Little Man,
Letta Mbulu,
Mary Jane Girls,
Anakelly,
8 Eyed Spy,
Radio Birdman,
Jeff Lynne,
Jawbox,
Boredoms,
Sugar Minott,
Cal Tjader,
Lalo Schifrin,
Bootsy Collins,
Inner City,
The Kinks,
Animal Collective,
Funkadelic,
Barclay James Harvest,
Rosa Yemen,
Lightning Bolt,
Oblivians,
Teenage Jesus and the Jerks,
A Flock of Seagulls,
Oppenheimer Analysis,
Gabor Szabo,
ABBA,
The Gun Club,
Marine Girls,
Flash Fearless,
Quadrant,
The Peanut Butter Conspiracy,
Bang On A Can,
Outsiders,
The Barracudas,
Hardrive,
Popol Vuh,
Aaron Thompson,
Ituana,
Sun Ra,
Man Eating Sloth,
Tommy Roe,
In Retrospect,
Joyce Sims,
Angels of Light & Akron/Family,
Joensuu 1685,
Main Source,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.