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 Dominican Republic and from Bologna.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Houston 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 Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Al Stewart to the punk 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 Slave. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
MC5,
Rosa Yemen,
The Modern Lovers,
Lizzy Mercier Descloux,
Pere Ubu,
The Index,
Lalann,
Cybotron,
Gian Franco Pienzio,
Interpol,
The Durutti Column,
Art Ensemble Of Chicago,
Hardrive,
R.M.O.,
Q65,
Fatback Band,
Althea and Donna,
The Stooges,
John Foxx,
Jawbox,
China Crisis,
Anthony Braxton,
Radiopuhelimet,
Desert Stars,
The Move,
The Pretty Things,
Porter Ricks,
The Monks,
Albert Ayler,
Schoolly D,
Dennis Brown,
Aloha Tigers,
Bluetip,
Alphaville,
Model 500,
Zero Boys,
Fat Boys,
Flash Fearless,
Faust,
T. Rex,
Mantronix,
The J.B.'s,
Derrick Morgan,
Pierre Henry,
Mary Jane Girls,
Franke,
Sound Behaviour,
Boz Scaggs,
Louis and Bebe Barron,
Rakim,
Hoover,
Sarah Menescal,
Prince Buster,
Underground Resistance,
Adolescents,
The Music Machine,
Glambeats Corp.,
Lungfish,
Gang Starr,
Dark Day,
Sällskapet,
John Holt, John Holt, John Holt, John Holt.
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.