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 Togo and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Accra.
I'm losing my edge to the art-school Portland 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar 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 Avey Tare to the electroclash 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 Rufus Thomas. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Swell Maps 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Ultimate Spinach,
Con Funk Shun,
Spoonie Gee,
Loose Ends,
Jeff Lynne,
Sällskapet,
Absolute Body Control,
The Mojo Men,
The Chocolate Watch Band,
Brass Construction,
Kas Product,
Q and Not U,
Bobby Hutcherson,
Kool Moe Dee,
Public Image Ltd.,
Pole,
Pulsallama,
Siglo XX,
Newcleus,
Johnny Clarke,
Nils Olav,
Brothers Johnson,
Rapeman,
Andrew Hill,
Whodini,
Glenn Branca,
The Count Five,
The Gap Band,
Slave,
John Lydon,
Lindisfarne,
Moby Grape,
The Sound,
Man Parrish,
Desert Stars,
Bobby Womack,
Al Stewart,
Mark Hollis,
Cybotron,
Judy Mowatt,
The Birthday Party,
Jeff Mills,
Ultravox,
The Happenings,
Dorothy Ashby,
Japan,
Nirvana,
Sun Ra,
Grandmaster Flash,
Ash Ra Tempel,
Eyeless In Gaza,
Groovy Waters,
Teenage Jesus and the Jerks,
The Cowsills,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gladiators,
Sparks,
Arab on Radar,
Fat Boys,
James White and The Blacks,
Shoche,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.