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 Malta and from Winnipeg.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Columbus and Bologna.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 David McCallum to the rock 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 Sällskapet. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Marcia Griffiths 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
David Axelrod,
The Doobie Brothers,
The Monks,
Ultravox,
James White and The Blacks,
Symarip,
The Red Krayola,
The Modern Lovers,
Sight & Sound,
The Golliwogs,
Johnny Osbourne,
Laurel Aitken,
Mo-Dettes,
Fatback Band,
Ornette Coleman,
Pharaoh Sanders and the Fire Engines,
Idris Muhammad,
Grandmaster Flash and the Furious Five,
The Detroit Cobras,
Mandrill,
K-Klass,
Schoolly D,
Technova,
Visage,
Jacob Miller,
Unrelated Segments,
Pere Ubu,
The Monochrome Set,
Malaria!,
Kurtis Blow,
Yaz,
Smog,
Marine Girls,
X-Ray Spex,
Zero Boys,
The Evens,
Joy Division,
It's A Beautiful Day,
Underground Resistance,
DNA,
Ludus,
Buzzcocks,
The Peanut Butter Conspiracy,
Altered Images,
Bootsy Collins,
Clear Light,
David McCallum,
Bobby Womack,
Bauhaus,
Ken Boothe,
Girls At Our Best!,
June of 44,
Notorious Big And Bone Thugs,
Accadde A,
48th St. Collective,
The Blackbyrds,
Sandy B,
La Düsseldorf,
Dawn Penn,
The Angels of Light,
Graham Central Station,
Marc Romboy vs. Booka Shade,
Public Image Ltd.,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.