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 Sudan and from Woodstock.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Tehran 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 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 Johnny Osbourne to the rock 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 Wings. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Sparks 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Kerrie Biddell,
Ken Boothe,
Ohio Players,
Electric Light Orchestra,
Thee Headcoats,
Rosa Yemen,
Grauzone,
Sight & Sound,
The Doors,
Ultimate Spinach,
Fad Gadget,
Rotary Connection,
Fat Boys,
Zapp,
Sexual Harrassment,
Ossler,
Altered Images,
10cc,
The Smiths,
Crispian St. Peters,
Wire,
Donny Hathaway,
the Normal,
Flipper,
The Star Department,
Max Romeo,
Sly & The Family Stone,
Todd Rundgren,
Strawberry Alarm Clock,
Cheater Slicks,
Prince Buster,
In Retrospect,
The Last Poets,
Black Sheep,
Metal Thangz,
Mars,
Radiopuhelimet,
D'Angelo,
Robert Görl,
Danielle Patucci,
Cal Tjader,
Electric Prunes,
The Saints,
Soft Machine,
New York Dolls,
Absolute Body Control,
Deakin,
Lou Reed,
Shoche,
Schoolly D,
The Index,
Steve Hackett,
Bill Near,
Second Layer,
the Fania All-Stars,
Cabaret Voltaire,
Ituana,
DJ Style,
Howard Jones,
Bizarre Inc.,
Franke,
Kerri Chandler,
Fluxion, Fluxion, Fluxion, Fluxion.
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.