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 Kazakhstan and from Lille.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Spokane 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 synthesizer 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 Slave to the grunge kids.
I played it at the Astoria.
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 Electric Light Orchestra. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Bobby Sherman,
Jesper Dahlbäck,
Brand Nubian,
Traffic Nightmare,
Skarface,
Isaac Hayes,
Louis and Bebe Barron,
Magazine,
Todd Terry,
Urselle,
Archie Shepp,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Funky Four + One,
In Retrospect,
Bang on a Can All-Stars,
Alton Ellis,
Crash Course in Science,
Eurythmics,
Josef K,
Marine Girls,
Al Stewart,
Banda Bassotti,
Agitation Free,
Barry Ungar,
Pulsallama,
Jeru the Damaja,
The Chocolate Watch Band,
Nick Cave & The Bad Seeds,
The Walker Brothers,
Art Ensemble Of Chicago,
The Moleskins,
Major Organ And The Adding Machine,
Ronnie Foster,
Roy Ayers,
The Pop Group,
Grandmaster Flash and the Furious Five,
Girls At Our Best!,
The Men They Couldn't Hang,
Mad Mike,
Chris Corsano,
Section 25,
ABC,
Model 500,
The West Coast Pop Art Experimental Band,
Harpers Bizarre,
Beasts of Bourbon,
Pet Shop Boys,
Notorious BIG live in Amsterdam,
The Electric Prunes,
The Durutti Column,
Pharaoh Sanders and the Fire Engines,
Wolf Eyes,
Kool Moe Dee,
The Busters,
Howard Jones,
Mandrill,
Eric Copeland,
Fifty Foot Hose,
James White and The Blacks,
Duran Duran,
The Shadows of Knight,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.