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 South Sudan and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
I'm losing my edge to the art-school Halifax 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Be Bop Deluxe to the electroclash 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 Fugs. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every The Smoke 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 '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Japan,
John Holt,
Be Bop Deluxe,
Roy Ayers Ubiquity,
Avey Tare's Slasher Flicks,
Roger Hodgson,
The Trojans,
Johnny Clarke,
Lakeside,
Blake Baxter,
Ultramagnetic MC's,
La Düsseldorf,
Visage,
cv313,
Morten Harket,
The Dead C,
Rekid,
X-102,
PIL,
Rosa Yemen,
Yazoo,
T.S.O.L.,
The Flesh Eaters,
Camouflage,
Bobby Byrd,
Grauzone,
Metal Thangz,
Jawbox,
Newcleus,
The Detroit Cobras,
H. Thieme,
New York Dolls,
Faust,
Supertramp,
The Chocolate Watch Band,
the Soft Cell,
Barrington Levy,
Gang Green,
Hasil Adkins,
Sly & The Family Stone,
Yaz,
Reuben Wilson,
ABBA,
Fatback Band,
Sonic Youth,
Cluster,
Anakelly,
Crispian St. Peters,
Charles Mingus,
Jerry's Kids,
The Gories,
Jandek,
Severed Heads,
James White and The Blacks,
Tomorrow,
CMW,
Black Pus,
Joey Negro,
The Move,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.