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 Bolivia and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Mexico City 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Ralphi Rosario to the crunk kids.
I played it at the Roxy.
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 The Mighty Diamonds. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Steve Hackett,
48th St. Collective,
Liliput,
Symarip,
The Alarm Clocks,
the Soft Cell,
Robert Wyatt,
Be Bop Deluxe,
The Happenings,
The Index,
Cameo,
The West Coast Pop Art Experimental Band,
Grandmaster Flash,
Gil Scott-Heron and Jamie xx,
The Saints,
Terry Callier,
Rakim,
Kurtis Blow,
Section 25,
Roxy Music,
The Walker Brothers,
Eyeless In Gaza,
Desert Stars,
Electric Light Orchestra,
The Fire Engines,
The Selecter,
Ohio Players,
Deepchord,
Mantronix,
Kayak,
Los Fastidios,
Crime,
Drive Like Jehu,
Panda Bear,
Manfred Mann's Earth Band,
Angry Samoans,
Toni Rubio,
Pussy Galore,
Sly & The Family Stone,
Gichy Dan,
The Doobie Brothers,
The Count Five,
Lyres,
Fat Boys,
Sister Nancy,
The Mummies,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tomorrow,
Lou Christie,
Erasure,
Richard Hell and the Voidoids,
Sarah Menescal,
Heaven 17,
Tom Boy,
Hashim,
The Offenders,
Grandmaster Flash and the Furious Five,
Joe Finger,
Thinking Fellers Union Local 282,
The Misunderstood,
Bush Tetras,
The Royal Family And The Poor,
The Trojans, The Trojans, The Trojans, The Trojans.
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.