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 Zimbabwe and from Portland.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Chic practice in a loft in New York.
I was working on the clarinet 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 The Smoke to the electroclash 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 Japan. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Janne Schatter 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Crash Course in Science,
Pantytec,
Boredoms,
the Human League,
Little Man,
The Dead C,
Severed Heads,
Lebanon Hanover,
Mission of Burma,
Lou Christie,
Lou Reed,
Warren Ellis,
The Shadows of Knight,
Visionaries,LMNO, T- Love & Iriscience,
The Searchers,
The Leaves,
Jerry Gold Smith,
The Sisters of Mercy,
Sad Lovers and Giants,
The New Christs,
Mo-Dettes,
Rotary Connection,
Crime,
The Cowsills,
48th St. Collective,
Flamin' Groovies,
Avey Tare,
Y Pants,
Neil Young,
The Fuzztones,
Carl Craig,
EPMD,
Index,
Grey Daturas,
Make Up,
the Germs,
Grandmaster Flash and the Furious Five,
Angry Samoans,
PIL,
Malaria!,
Cymande,
Skarface,
The West Coast Pop Art Experimental Band,
Underground Resistance,
The Gun Club,
The Selecter,
Electric Light Orchestra,
Lungfish,
Andrew Ashong & Theo Parrish,
Jacques Brel,
Deutsch Amerikanische Freundschaft,
Scion,
Moss Icon,
This Heat,
Mary Jane Girls,
Wally Richardson,
Orchestral Manoeuvres in the Dark,
Black Flag,
Judy Mowatt,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.