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 Dominica and from Beijing.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Tehran 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 clarinet 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 Lebanon Hanover to the rap 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 Lower 48. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Manfred Mann's Earth Band,
Janne Schatter,
the Sonics,
Japan,
Minor Threat,
The Monochrome Set,
James White and The Blacks,
Eli Mardock,
Wire,
Boz Scaggs,
the Soft Cell,
The Smiths,
The Star Department,
Negative Approach,
Moebius,
the Association,
June Days,
Lafayette Afro Rock Band,
Khruangbin,
Main Source,
Eden Ahbez,
Ludus,
Popol Vuh,
Glenn Branca,
The Sisters of Mercy,
Easy Going,
U.S. Maple,
Camouflage,
Blake Baxter,
Stereo Dub,
Rahsaan Roland Kirk,
Soul Sonic Force,
Oppenheimer Analysis,
Mad Mike,
Malaria!,
The Mummies,
Gang of Four,
The Shadows of Knight,
Brand Nubian,
Duran Duran,
Red Lorry Yellow Lorry,
Ten City,
Scratch Acid,
Pussy Galore,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Doors,
Echo & the Bunnymen,
Lonnie Liston Smith,
Nils Olav,
The Walker Brothers,
The Standells,
Joe Smooth,
Urselle,
Intrusion,
Soft Cell,
Trumans Water,
David Axelrod,
Average White Band,
Howard Jones,
Gil Scott Heron,
New York Dolls,
Warsaw, Warsaw, Warsaw, Warsaw.
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.