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 Czech Republic and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Gregory Isaacs to the rock 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 Joe Finger. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Tim Buckley,
Rapeman,
The Victims,
Cheater Slicks,
The Selecter,
Captain Beefheart & His Magic Band,
Teenage Jesus and the Jerks,
Soft Cell,
Amon Düül II,
Nas,
Deadbeat,
Ten City,
The Move,
The Knickerbockers,
Young Marble Giants,
Masters at Work,
Oblivians,
The Neon Judgement,
Gil Scott Heron,
Jerry Gold Smith,
Fad Gadget,
Angels of Light & Akron/Family,
The Black Dice,
Junior Murvin,
The Mojo Men,
Magazine,
The Pop Group,
Johnny Osbourne,
June of 44,
Crooked Eye,
The Moleskins,
Nik Kershaw,
Theoretical Girls,
Altered Images,
Judy Mowatt,
The Count Five,
Niagra,
Pylon,
Japan,
The Gories,
The Toasters,
Ultramagnetic MC's,
Gabor Szabo,
Saccharine Trust,
Frankie Knuckles,
Joe Finger,
Excepter,
Duran Duran,
Smog,
The Mighty Diamonds,
Skarface,
The Grass Roots,
cv313,
Susan Cadogan,
The Residents,
Traffic Nightmare,
Tubeway Army,
Model 500,
Janne Schatter,
Prince Buster,
The Stooges, The Stooges, The Stooges, The Stooges.
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.