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 Somalia and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 Masters at Work to the funk kids.
I played it at the Troubador.
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 Fear. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Amon Düül,
Babytalk,
The Slits,
The Black Dice,
Skaos,
48th St. Collective,
Barclay James Harvest,
Q and Not U,
Scan 7,
The Cure,
Nick Cave & The Bad Seeds,
Scott Walker,
David Bowie,
Crooked Eye,
Donny Hathaway,
H. Thieme,
Wasted Youth,
Glambeats Corp.,
Section 25,
Cheater Slicks,
Lakeside,
EPMD,
Erasure,
AZ,
Siouxsie and the Banshees,
In Retrospect,
Blancmange,
The Last Poets,
Au Pairs,
Fad Gadget,
Blossom Toes,
Captain Beefheart & His Magic Band,
Ronan,
Sight & Sound,
The Fuzztones,
Jimmy McGriff,
Von Mondo,
The Index,
Darondo,
Ultra Naté,
Warsaw,
John Coltrane,
Bobby Hutcherson,
Echo & the Bunnymen,
Colin Newman,
Porter Ricks,
Electric Prunes,
Country Teasers,
Marshall Jefferson,
The Saints,
The Pop Group,
Visage,
Lungfish,
Trumans Water,
Sam Rivers,
The Residents,
Jesper Dahlbäck,
Connie Case,
Charles Mingus,
Dark Day,
Mandrill, Mandrill, Mandrill, Mandrill.
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.