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 Croatia and from Shanghai.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Tehran and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the organ 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 Barclay James Harvest to the electroclash 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 The Smoke. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Babytalk,
Dorothy Ashby,
Nick Cave & The Bad Seeds,
Kool G Rap & DJ Polo,
Quantec,
Ralphi Rosario,
Ituana,
The Count Five,
Pete Rock & C.L. Smooth,
The Young Rascals,
The Seeds,
Davy DMX,
Terry Callier,
a-ha,
Marc Romboy vs. Booka Shade,
Mad Mike,
Soft Cell,
John Coltrane,
Stockholm Monsters,
The Skatalites,
The Angels of Light,
Country Teasers,
Connie Case,
The Real Kids,
Oblivians,
Visage,
Gichy Dan,
The Chocolate Watch Band,
Pierre Henry,
Joy Division,
Monolake,
the Germs,
cv313,
Yaz,
The Move,
Blancmange,
Jacob Miller,
Jandek,
Peter & Gordon,
DeepChord presents Echospace,
Little Man,
Gian Franco Pienzio,
Duran Duran,
Loose Ends,
John Cale,
Frankie Knuckles,
Sad Lovers and Giants,
Arcadia,
Delon & Dalcan,
Marc Almond,
Kango’s Stein Massive,
Roy Ayers Ubiquity,
Kerri Chandler,
Khruangbin,
Bizarre Inc.,
Lou Reed & Metallica,
Andrew Ashong & Theo Parrish,
Todd Terry,
The Walker Brothers,
Leonard Cohen,
The Mummies,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.