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 Trinidad & Tobago 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 1964 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Louis and Bebe Barron to the punk 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 Johnny Clarke. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
John Holt,
Bobby Hutcherson,
June Days,
Ice-T,
Electric Light Orchestra,
Moby Grape,
Main Source,
Brass Construction,
Lou Christie,
The Mojo Men,
AZ,
Quantec,
Mad Mike,
Albert Ayler,
Ossler,
Crooked Eye,
Darondo,
Avey Tare,
Ronnie Foster,
Eddi Front,
Newcleus,
Gregory Isaacs,
The Gories,
Terry Callier,
Zero Boys,
The Invisible,
Japan,
Sad Lovers and Giants,
Silicon Teens,
Skriet,
The Walker Brothers,
Maleditus Sound,
Barry Ungar,
Camron Feat. Jay Z And Juelz,
Yaz,
Harmonia,
Little Man,
Fifty Foot Hose,
Grauzone,
Hashim,
The Velvet Underground,
Ten City,
Terror Squad Feat. Camron,
Jerry's Kids,
Adolescents,
Clear Light,
The Jesus and Mary Chain,
The Motions,
The Men They Couldn't Hang,
Tim Buckley,
48th St. Collective,
Barclay James Harvest,
Joy Division,
John Foxx,
Scrapy,
Rahsaan Roland Kirk,
The Happenings,
The Names,
Camouflage,
Heaven 17,
Marc Almond,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.