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 Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Johannesburg 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 Loose Ends to the rock 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 Kas Product. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Faraquet,
Can,
The Music Machine,
The Knickerbockers,
Gichy Dan,
Interpol,
MC5,
EPMD,
Motorama,
Tres Demented,
Moss Icon,
Magazine,
The Pop Group,
Bang On A Can,
The Monochrome Set,
The Cramps,
Gil Scott-Heron and Jamie xx,
Neil Young,
Section 25,
Arab on Radar,
Visage,
The Offenders,
Adolescents,
AZ,
Fort Wilson Riot,
Banda Bassotti,
Avey Tare's Slasher Flicks,
The Sisters of Mercy,
Mandrill,
Morten Harket,
Lonnie Liston Smith,
Kaleidoscope,
Max Romeo,
Hoover,
Dr. Dre and Snoop Doggy Dog,
Brick,
Flash Fearless,
Radio Birdman,
Spoonie Gee,
Marine Girls,
The Associates,
Ohio Players,
the Germs,
Con Funk Shun,
Toni Rubio,
Saccharine Trust,
The Motions,
Blossom Toes,
Todd Rundgren,
Boz Scaggs,
The Cowsills,
Gastr Del Sol,
The United States of America,
One Last Wish,
The Durutti Column,
Roxette,
Tim Buckley,
Hashim,
Surgeon,
Mo-Dettes,
Q65,
Zapp, Zapp, Zapp, Zapp.
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.