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 Dominican Republic and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Jakarta 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Quadrant to the electroclash kids.
I played it at the 40 Watt.
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 the Association. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Amon Düül II,
Man Eating Sloth,
The Fire Engines,
China Crisis,
The Peanut Butter Conspiracy,
Flipper,
Alice Coltrane,
The Pretty Things,
The Barracudas,
Black Flag,
Donald Byrd,
The Cramps,
The Searchers,
Soulsonic Force,
Con Funk Shun,
The Durutti Column,
The Smoke,
the Normal,
Public Enemy,
The Zeros,
It's A Beautiful Day,
Metal Thangz,
Al Stewart,
Second Layer,
London Community Gospel Choir,
the Slits,
Agitation Free,
Joe Smooth,
Crime,
John Lydon,
Howard Jones,
Gang Starr,
The Last Poets,
The Cosmic Jokers,
Skaos,
8 Eyed Spy,
Whodini,
Todd Rundgren,
Matthew Bourne,
David McCallum,
Anthony Braxton,
Judy Mowatt,
Bill Near,
Mo-Dettes,
Lucky Dragons,
Shoche,
The Divine Comedy,
Rotary Connection,
Mark Hollis,
Sunsets and Hearts,
Niagra,
Alphaville,
Bang on a Can All-Stars,
Lizzy Mercier Descloux,
Radiohead,
Cameo,
The Fuzztones,
Pierre Henry,
Monolake,
Idris Muhammad,
Black Sheep,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.