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 Barbados and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1979.
I'm losing my edge.
To all the kids in New York and Salvador.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 The Doors to the punk 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 Steve Hackett. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Blossom Toes 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 a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
ABC,
Make Up,
Cybotron,
Minutemen,
F. McDonald,
London Community Gospel Choir,
Deadbeat,
Kool Moe Dee,
The New Christs,
Hot Snakes,
Sex Pistols,
Kenny Larkin,
Yusef Lateef,
Red Lorry Yellow Lorry,
Don Cherry,
John Holt,
The Toasters,
The Detroit Cobras,
Warren Ellis,
Half Japanese,
The Angels of Light,
The Evens,
Joyce Sims,
The Associates,
Amon Düül,
Fat Boys,
The Gap Band,
Roxy Music,
Jerry Gold Smith,
Dual Sessions,
The Buckinghams,
Lakeside,
Tears for Fears,
Brick,
Lou Reed,
Index,
Swell Maps,
Judy Mowatt,
Richard Hell and the Voidoids,
Television Personalities,
Ash Ra Tempel,
The Remains,
The Wake,
Sam Rivers,
Girls At Our Best!,
Sun Ra Arkestra,
Fluxion,
Sexual Harrassment,
The Last Poets,
Fugazi,
Eden Ahbez,
Deutsch Amerikanische Freundschaft,
Sandy B,
Royal Trux,
Fatback Band,
KRS-One,
Matthew Halsall,
Jeff Lynne,
Bobby Womack,
Zero Boys,
Freddie Wadling,
Nils Olav,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.