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 Malawi and from Halifax.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Beijing 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 Kings Of Tomorrow to the punk kids.
I played it at the Astoria.
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 Be Bop Deluxe. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every the Soft Cell 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Shuggie Otis,
Cymande,
Joe Smooth,
Scott Walker,
The Zeros,
Sex Pistols,
The Detroit Cobras,
Parry Music,
Faust,
Brick,
Funky Four + One,
Lungfish,
Sixth Finger,
Hasil Adkins,
The Royal Family And The Poor,
Howard Jones,
Sarah Menescal,
Captain Beefheart & His Magic Band,
Todd Rundgren,
Ohio Players,
Prince Buster,
Fugazi,
Lindisfarne,
Steve Hackett,
The Gories,
Dorothy Ashby,
Model 500,
Sugar Minott,
Quantec,
Faraquet,
Ultra Naté,
Laurel Aitken,
John Holt,
Roxette,
Mr. Review,
The Happenings,
Tres Demented,
Joyce Sims,
Derrick May,
Das Ding,
Arcadia,
Arthur Verocai,
Radio Birdman,
Bang On A Can,
Henry Cow,
Fifty Foot Hose,
Manfred Mann's Earth Band,
The Sound,
The United States of America,
Echo & the Bunnymen,
Mars,
Pierre Henry,
Erykah Badu,
Marine Girls,
KRS-One,
Pete Rock & C.L. Smooth,
The Velvet Underground,
Bobby Sherman,
Wings,
Tom Boy,
Gang Green,
Newcleus, Newcleus, Newcleus, Newcleus.
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.