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 Papua New Guinea and from Calgary.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Houston and Jakarta.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the guitar 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 Hardrive to the grime kids.
I played it at CBGB's.
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 Bar-Kays. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Pole,
Ultramagnetic MC's,
The Cure,
The Alarm Clocks,
Crispian St. Peters,
The Fugs,
Peter and Kerry,
Todd Terry,
Art Ensemble Of Chicago,
Au Pairs,
Scrapy,
The Martian,
Lou Reed & Metallica,
Donny Hathaway,
Howard Jones,
Bobby Womack,
John Holt,
Aural Exciters,
Pierre Henry,
Lindisfarne,
James White and The Blacks,
The Dave Clark Five,
Pantytec,
The Gladiators,
Iggy Pop,
The Move,
Technova,
Ituana,
The J.B.'s,
New Age Steppers,
Josef K,
Letta Mbulu,
a-ha,
The Mojo Men,
H. Thieme,
Graham Central Station,
Notorious Big And Bone Thugs,
Gian Franco Pienzio,
The Index,
Skarface,
Joe Finger,
Tres Demented,
Bill Wells,
Inner City,
Desert Stars,
The West Coast Pop Art Experimental Band,
Sixth Finger,
One Last Wish,
Chris Corsano,
Danielle Patucci,
MC5,
Jacques Brel,
Chris & Cosey,
Hasil Adkins,
The Leaves,
Pulsallama,
Don Cherry,
Harmonia,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.