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 the UAE and from London.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Jakarta and Johannesburg.
I'm losing my edge to the art-school Lyon 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 David Bowie 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 Stockholm Monsters to the rap kids.
I played it at the Crocodile.
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 Motorama. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Whodini 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Nik Kershaw,
The Knickerbockers,
T. Rex,
Robert Hood,
The Stooges,
Royal Trux,
Spoonie Gee,
Chris & Cosey,
Wighnomy Brothers & Robag Wruhme,
Selector Dub Narcotic,
Pagans,
Fatback Band,
The Doors,
a-ha,
Second Layer,
Sunsets and Hearts,
Dawn Penn,
Minny Pops,
Audionom,
Stetsasonic,
Peter Gordon & Love of Life Orchestra,
Reuben Wilson,
Lou Reed & Metallica,
B.T. Express,
Rowland S Howard / Lydia Lunch,
The Alarm Clocks,
Bootsy's Rubber Band,
Schoolly D,
Los Fastidios,
Pantytec,
Make Up,
the Germs,
Cameo,
Judy Mowatt,
Agitation Free,
The Flesh Eaters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ronnie Foster,
the Sonics,
Harpers Bizarre,
Lonnie Liston Smith,
X-101,
New York Dolls,
the Soft Cell,
The Fire Engines,
Todd Rundgren,
Fat Boys,
Davy DMX,
Eve St. Jones,
Kayak,
Slick Rick,
Nick Fraelich,
Faust,
Liaisons Dangereuses,
Johnny Clarke,
Ponytail,
The Cosmic Jokers,
Can,
Saccharine Trust,
New Age Steppers,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.