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 Burundi and from New York.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Mars to the grime 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 Leonard Cohen. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Harmonia,
Wally Richardson,
Eddi Front,
Gerry Rafferty,
The Residents,
Ponytail,
Shoche,
The Doors,
U.S. Maple,
The Trojans,
Prince Buster,
The Detroit Cobras,
Eli Mardock,
Underground Resistance,
The Searchers,
The Young Rascals,
The Grass Roots,
Hashim,
Duran Duran,
Stetsasonic,
Lou Reed,
The Cramps,
The Moody Blues,
K-Klass,
Crispy Ambulance,
Patti Smith,
Steve Hackett,
Brass Construction,
Cal Tjader,
The Martian,
D'Angelo,
This Heat,
Organ,
Eyeless In Gaza,
Black Moon,
Röyhkä ja Rättö ja Lehtisalo,
Kings Of Tomorrow,
Tim Buckley,
The Fire Engines,
Rites of Spring,
Minutemen,
Rod Modell,
Yellowson,
Johnny Clarke,
Danielle Patucci,
Colin Newman,
Scan 7,
Morten Harket,
ABC,
The Gun Club,
Manfred Mann's Earth Band,
Strawberry Alarm Clock,
Todd Terry,
Kayak,
A Certain Ratio,
KRS-One,
Radiopuhelimet,
Make Up,
the Germs,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.