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 Madagascar 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 1961 to 1977.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 Captain Beefheart 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 U.S. Maple to the electroclash kids.
I played it at the Hacienda.
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 Sugar Minott. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Eyeless In Gaza,
Peter & Gordon,
Tim Buckley,
Boz Scaggs,
Jeff Lynne,
the Soft Cell,
Wolf Eyes,
Cameo,
Marcia Griffiths,
Adolescents,
The Black Dice,
Roxette,
Sly & The Family Stone,
Oppenheimer Analysis,
Tom Boy,
June Days,
Model 500,
Vaughan Mason & Crew,
the Swans,
Man Parrish,
Jawbox,
the Fania All-Stars,
Easy Going,
The Alarm Clocks,
Laurel Aitken,
Cybotron,
Swell Maps,
Davy DMX,
Barclay James Harvest,
Circle Jerks,
Animal Collective,
Eurythmics,
Procol Harum,
Deepchord,
Mad Mike,
Yaz,
Guru Guru,
UT,
The Mighty Diamonds,
Pulsallama,
These Immortal Souls,
The Associates,
Marc Almond,
The Slits,
Colin Newman,
The Litter,
Peter and Kerry,
The Monks,
Dennis Brown,
The Shadows of Knight,
Yazoo,
Charles Mingus,
Clear Light,
Niagra,
Nik Kershaw,
Crime,
Piero Umiliani,
Sun City Girls,
Moss Icon,
Bill Near,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.