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 Greece and from Edmonton.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Spokane.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Sad Lovers and Giants to the grunge 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 Ornette Coleman. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every The Divine Comedy 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Arcadia,
Bad Manners,
New York Dolls,
The Men They Couldn't Hang,
Ultra Naté,
Notorious BIG live in Amsterdam,
John Coltrane,
Aloha Tigers,
Moss Icon,
Joe Finger,
Selector Dub Narcotic,
The Mummies,
The Young Rascals,
Cabaret Voltaire,
Banda Bassotti,
Harpers Bizarre,
Schoolly D,
Barclay James Harvest,
Clear Light,
Rosa Yemen,
Ronan,
Juan Atkins,
Byron Stingily,
Scion,
Eddi Front,
Althea and Donna,
Symarip,
Kool Moe Dee,
Peter & Gordon,
Connie Case,
Andrew Hill,
Nas,
David McCallum,
Nico,
Gabor Szabo,
John Cale,
Pharaoh Sanders and the Fire Engines,
Surgeon,
The Gap Band,
The Alarm Clocks,
The Last Poets,
Lou Christie,
Sandy B,
Guru Guru,
Electric Prunes,
Fear,
Suburban Knight,
Fluxion,
Sugar Minott,
Dawn Penn,
10cc,
ABBA,
Eurythmics,
Agent Orange,
Rod Modell,
Bootsy's Rubber Band,
Saccharine Trust,
Captain Beefheart & His Magic Band,
Excepter,
Boz Scaggs,
Donny Hathaway,
Judy Mowatt,
The Gories, The Gories, The Gories, The Gories.
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.