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 Swaziland and from Madrid.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Stetsasonic 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 The Men They Couldn't Hang. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal dance 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 a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
The Alarm Clocks,
Fluxion,
Roger Hodgson,
Buzzcocks,
the Bar-Kays,
the Association,
Animal Collective,
Saccharine Trust,
The Associates,
The Five Americans,
Neil Young & Crazy Horse,
Harpers Bizarre,
Mary Jane Girls,
Amon Düül,
Thompson Twins,
Vainqueur,
Little Man,
Rahsaan Roland Kirk,
Minutemen,
Hasil Adkins,
Yellowson,
The Dead C,
B.T. Express,
Gang Starr,
Bobby Womack,
The Detroit Cobras,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Barbara Tucker,
Duran Duran,
Depeche Mode,
Strawberry Alarm Clock,
The Misunderstood,
Blancmange,
Gary Puckett & The Union Gap,
Siouxsie and the Banshees,
Tommy Roe,
ABBA,
Visionaries,LMNO, T- Love & Iriscience,
Avey Tare & Kría Brekkan,
Angry Samoans,
Echo & the Bunnymen,
Hardrive,
Peter Gordon & Love of Life Orchestra,
Parry Music,
The Litter,
10cc,
The Mummies,
Electric Light Orchestra,
Black Bananas,
Soul Sonic Force,
The Dave Clark Five,
Das Ding,
Magma,
Organ,
CMW,
Sound Behaviour,
Outsiders,
Throbbing Gristle,
Rotary Connection,
Lou Reed & John Cale,
Soul II Soul,
Skarface,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.