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 Mauritius and from Sao Paulo.
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 1972.
I'm losing my edge.
To all the kids in Paris and Tehran.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Leonard Cohen to the jazz kids.
I played it at Trash.
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 Spoonie Gee. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Radiohead,
The Searchers,
Sam Rivers,
Big Daddy Kane,
Severed Heads,
Pet Shop Boys,
Delon & Dalcan,
The Blackbyrds,
Wally Richardson,
The Alarm Clocks,
F. McDonald,
The Young Rascals,
Derrick May,
The Durutti Column,
Manfred Mann's Earth Band,
The Tremeloes,
The Sisters of Mercy,
Röyhkä ja Rättö ja Lehtisalo,
The Detroit Cobras,
Judy Mowatt,
Fatback Band,
Jandek,
Eve St. Jones,
The United States of America,
Warsaw,
Saccharine Trust,
JFA,
Magazine,
The Pop Group,
The Mummies,
Oppenheimer Analysis,
Scan 7,
Easy Going,
Monks,
The Human League,
Ponytail,
X-Ray Spex,
The Slits,
Gerry Rafferty,
Pantytec,
Q and Not U,
Minnie Riperton,
Liaisons Dangereuses,
Gian Franco Pienzio,
the Soft Cell,
EPMD,
This Heat,
Marmalade,
Sugar Minott,
John Holt,
Johnny Clarke,
Loose Ends,
Unwound,
Eric Dolphy,
Rod Modell,
Man Parrish,
Josef K,
Stockholm Monsters,
Cluster,
LL Cool J,
The Divine Comedy,
Reuben Wilson,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber 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.