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 Venezuela and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Calgary 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Pharaoh Sanders and the Fire Engines to the rock kids.
I played it at Trash.
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 Dark Day. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
The Shadows of Knight,
Roger Hodgson,
MC5,
Lakeside,
Sonic Youth,
Scrapy,
Johnny Osbourne,
Lou Reed & Metallica,
Stereo Dub,
Girls At Our Best!,
Magma,
The Monks,
Nick Fraelich,
Dawn Penn,
JFA,
DJ Style,
Mantronix,
Gary Puckett & The Union Gap,
The Vogues,
The Victims,
Hoover,
Art Ensemble Of Chicago,
Niagra,
the Fania All-Stars,
Banda Bassotti,
The Remains,
Jimmy McGriff,
Lonnie Liston Smith,
Jerry Gold Smith,
Roy Ayers Ubiquity,
Amon Düül II,
The Fire Engines,
Joe Finger,
Bobbi Humphrey,
Desert Stars,
It's A Beautiful Day,
A Flock of Seagulls,
Japan,
Derrick Morgan,
Rotary Connection,
Rhythm & Sound,
DNA,
Al Stewart,
the Human League,
Wire,
Super Lover Cee & Casanova Rud,
Jeff Lynne,
Cluster,
Agitation Free,
Robert Wyatt,
Monks,
Ornette Coleman,
Louis and Bebe Barron,
The Doobie Brothers,
Infiniti,
Captain Beefheart & His Magic Band,
Judy Mowatt,
Arthur Verocai,
Intrusion,
The Dave Clark Five,
The Associates,
Agent Orange,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.