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 Mozambique and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Mexico City and Cairo.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Bizarre Inc. to the grunge kids.
I played it at the Roxy.
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 Make Up. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Monolake,
Eyeless In Gaza,
Lee Hazlewood,
UT,
Richard Hell and the Voidoids,
Blake Baxter,
Carl Craig,
Art Ensemble Of Chicago,
Avey Tare,
Gang Gang Dance,
Banda Bassotti,
Mandrill,
Michelle Simonal,
John Holt,
The Monochrome Set,
Eurythmics,
The Leaves,
The Pop Group,
Mark Hollis,
Lou Reed,
Outsiders,
Essential Logic,
Throbbing Gristle,
Derrick Morgan,
Terry Callier,
JFA,
Television Personalities,
Eddi Front,
Deadbeat,
The Smoke,
The Mummies,
Matthew Halsall,
The Martian,
Joe Finger,
Al Stewart,
Marc Almond,
Visage,
Jeru the Damaja,
Sound Behaviour,
Derrick May,
Notorious BIG live in Amsterdam,
Inner City,
Flipper,
Lou Reed & John Cale,
Bill Near,
Marmalade,
The American Breed,
Q and Not U,
The Residents,
the Soft Cell,
Harry Pussy,
Notorious Big And Bone Thugs,
Skriet,
Byron Stingily,
Scratch Acid,
Barrington Levy,
Tomorrow,
Moss Icon,
Black Flag,
Ludus, Ludus, Ludus, Ludus.
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.