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 Denmark and from Mumbai.
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 1973.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Manchester 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 Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Reuben Wilson to the rock 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Eli Mardock 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 '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Oblivians,
The Tremeloes,
Jeff Mills,
The Fortunes,
Liaisons Dangereuses,
Animal Collective,
Brick,
Zapp,
Red Lorry Yellow Lorry,
Rekid,
Don Cherry,
Pylon,
The Alarm Clocks,
Scratch Acid,
Marc Almond,
Whodini,
Y Pants,
Simply Red,
Youth Brigade,
Carl Craig,
Gil Scott-Heron & Brian Jackson,
The Golliwogs,
Metal Thangz,
Sonic Youth,
Subhumans,
Archie Shepp,
D'Angelo,
Leonard Cohen,
Bootsy Collins,
Von Mondo,
Groovy Waters,
Absolute Body Control,
Al Stewart,
Fela Kuti,
the Normal,
Gang of Four,
Thinking Fellers Union Local 282,
Black Moon,
Skriet,
Deepchord,
Sam Rivers,
Tim Buckley,
Marshall Jefferson,
Procol Harum,
K-Klass,
The Fuzztones,
Flamin' Groovies,
Thee Headcoats,
The Vogues,
Bobby Womack,
Rotary Connection,
The Dave Clark Five,
Motorama,
The Fall,
Amon Düül II,
Public Image Ltd.,
Dual Sessions,
Technova,
Mr. Review,
Section 25, Section 25, Section 25, Section 25.
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.