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 Dominica and from Glasgow.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Lille 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 Eric Copeland to the techno kids.
I played it at the Spitz.
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 Jesus and Mary Chain. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal rap 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 a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Flesh Eaters,
Gregory Isaacs,
Hoover,
U.S. Maple,
Lee Hazlewood,
Arthur Verocai,
Kauko Röyhkä ja Narttu,
The Royal Family And The Poor,
The Smiths,
Gary Puckett & The Union Gap,
Bluetip,
Smog,
Technova,
Tropical Tobacco,
Sam Rivers,
The Dead C,
The Real Kids,
Peter and Kerry,
The Remains,
The Cosmic Jokers,
Oneida,
Howard Jones,
Terry Callier,
Reuben Wilson,
One Last Wish,
Roxy Music,
Barrington Levy,
Negative Approach,
Lalann,
Grauzone,
Richard Hell and the Voidoids,
Red Lorry Yellow Lorry,
Echo & the Bunnymen,
Black Pus,
Johnny Clarke,
Steve Hackett,
Delon & Dalcan,
It's A Beautiful Day,
10cc,
Stereo Dub,
Qualms,
The Velvet Underground,
Pete Rock & C.L. Smooth,
H. Thieme,
a-ha,
Gian Franco Pienzio,
the Slits,
Amon Düül II,
Johnny Osbourne,
Bronski Beat,
De La Soul & Jungle Brothers,
The Mummies,
The Selecter,
the Association,
Gil Scott-Heron & Brian Jackson,
The Buckinghams,
Hot Snakes,
Connie Case,
Young Marble Giants,
Yusef Lateef,
Fad Gadget,
Wire, Wire, Wire, Wire.
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.