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 Iraq and from Bremen.
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 1979.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Madrid 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 1976 at the first Chic practice in a loft in New York.
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 Erasure to the jazz kids.
I played it at the Troubador.
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 Ronnie Foster. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Barry Ungar,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
Swans,
Aswad,
La Düsseldorf,
The Fugs,
Kool Moe Dee,
Selector Dub Narcotic,
Toni Rubio,
Electric Prunes,
Clear Light,
Arab on Radar,
Gil Scott Heron,
Cecil Taylor,
Essential Logic,
Average White Band,
Crash Course in Science,
Jandek,
X-102,
X-Ray Spex,
Supertramp,
The Peanut Butter Conspiracy,
Marc Romboy vs. Booka Shade,
Yaz,
H. Thieme,
Peter and Kerry,
Dead Boys,
The Barracudas,
Ultramagnetic MC's,
Royal Trux,
The Beau Brummels,
Robert Görl,
Half Japanese,
Electric Light Orchestra,
Bobby Sherman,
Minny Pops,
Eyeless In Gaza,
Television,
Country Teasers,
Suicide,
Gong,
Ralphi Rosario,
Soft Machine,
Michelle Simonal,
Faraquet,
Gabor Szabo,
The Jesus and Mary Chain,
Lalo Schifrin,
Lightning Bolt,
The Names,
Ken Boothe,
The Vogues,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Black Dice,
Alton Ellis,
Gil Scott-Heron & Brian Jackson,
Ituana,
8 Eyed Spy,
Morten Harket,
Howard Jones,
Bobby Hutcherson,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.