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 Togo and from Salvador.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Red Krayola to the disco kids.
I played it at CBGB's.
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 Sun City Girls. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Rhythm & Sound 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
David McCallum,
Lou Reed & Metallica,
Fluxion,
The Men They Couldn't Hang,
Soulsonic Force,
Siouxsie and the Banshees,
Robert Wyatt,
Index,
Aswad,
Yazoo,
Yaz,
Ajijia Myrayebe,
Strawberry Alarm Clock,
Swell Maps,
Big Daddy Kane,
Avey Tare's Slasher Flicks,
Echo & the Bunnymen,
Livin' Joy,
Piero Umiliani,
Gregory Isaacs,
Suicide,
Delon & Dalcan,
Pharaoh Sanders and the Fire Engines,
The Kinks,
Sound Behaviour,
Gabor Szabo,
Faraquet,
Joensuu 1685,
The Move,
Neil Young & Crazy Horse,
Curtis Mayfield,
The Buckinghams,
Jesper Dahlbäck,
Gastr Del Sol,
Junior Murvin,
Boogie Down Productions,
Pulsallama,
Siglo XX,
Jimmy McGriff,
Amazonics,
Rotary Connection,
Talk Talk,
Robert Hood,
Minutemen,
Ohio Players,
The Cosmic Jokers,
Fifty Foot Hose,
Delta 5,
Gil Scott Heron,
Danielle Patucci,
Gichy Dan,
Skarface,
Amon Düül II,
Bill Wells,
Mission of Burma,
Glenn Branca,
Porter Ricks,
Kool G Rap & DJ Polo,
The Doobie Brothers,
Cal Tjader,
Oneida,
A Flock of Seagulls,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.