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 France and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Trojans to the punk kids.
I played it at the Spitz.
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 Scott Walker. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Gil Scott Heron,
Delta 5,
Au Pairs,
D'Angelo,
The Happenings,
Al Stewart,
Scan 7,
Second Layer,
Ornette Coleman,
Gerry Rafferty,
The Young Rascals,
Moby Grape,
Model 500,
Oblivians,
Loose Ends,
Bootsy's Rubber Band,
Gary Puckett & The Union Gap,
Ken Boothe,
Byron Stingily,
Bush Tetras,
Reagan Youth,
Visage,
Michelle Simonal,
Cluster,
Amon Düül,
The Music Machine,
Art Ensemble Of Chicago,
Excepter,
Boogie Down Productions,
The Gories,
Arab on Radar,
Larry & the Blue Notes,
Terry Callier,
The Grass Roots,
The Busters,
Magma,
Jimmy McGriff,
Eddi Front,
Liliput,
Scratch Acid,
Aaron Thompson,
The Sound,
Camron Feat. Jay Z And Juelz,
Beasts of Bourbon,
Stockholm Monsters,
Davy DMX,
Guru Guru,
Alphaville,
Skriet,
Lou Reed,
Susan Cadogan,
Maurizio,
Morten Harket,
The Flesh Eaters,
Alton Ellis,
Anakelly,
Bang On A Can,
New York Dolls,
Television,
Flipper, Flipper, Flipper, Flipper.
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.