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 Eritrea and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 The Mojo Men to the funk kids.
I played it at the Crocodile.
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 Electric Prunes. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Bill Wells,
X-101,
Jacob Miller,
Albert Ayler,
The Trojans,
James White and The Blacks,
Gerry Rafferty,
Todd Rundgren,
Youth Brigade,
The Real Kids,
Avey Tare,
It's A Beautiful Day,
Ultravox,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jimmy McGriff,
Liaisons Dangereuses,
Ohio Players,
Symarip,
Severed Heads,
Kauko Röyhkä ja Narttu,
The Doors,
The Royal Family And The Poor,
Kayak,
Lindisfarne,
Lou Reed & John Cale,
Pharoah Sanders,
Lightning Bolt,
Grandmaster Flash,
The Move,
The Grass Roots,
James Chance & The Contortions,
Man Eating Sloth,
Funky Four + One,
Wings,
Roxy Music,
Moss Icon,
Talk Talk,
The Monks,
Roxette,
Heavy D & The Boyz,
Avey Tare & Kría Brekkan,
Tim Buckley,
JFA,
Moby Grape,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
Banda Bassotti,
Crash Course in Science,
Oppenheimer Analysis,
Lyres,
Captain Beefheart & His Magic Band,
Royal Trux,
Simply Red,
DJ Sneak,
Hardrive,
Gil Scott-Heron and Jamie xx,
Ossler,
Scott Walker,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.