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 Uzbekistan and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Taipei 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 harpsichord 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 The Detroit Cobras 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 Yazoo. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
The Gories,
Siglo XX,
Ajijia Myrayebe,
Country Teasers,
Porter Ricks,
Symarip,
Sun Ra Arkestra,
Sarah Menescal,
Kaleidoscope,
Robert Görl,
Thee Headcoats,
10cc,
This Heat,
The Electric Prunes,
Electric Light Orchestra,
Sound Behaviour,
Spandau Ballet,
the Swans,
Roger Hodgson,
Panda Bear,
the Germs,
Tommy Roe,
The Smiths,
MC5,
Ken Boothe,
Camouflage,
Slave,
Grey Daturas,
Quantec,
Amon Düül II,
The Men They Couldn't Hang,
The Fugs,
The Fuzztones,
The Toasters,
Joey Negro,
The Five Americans,
Dead Boys,
Minutemen,
Masters at Work,
The Index,
Deadbeat,
The Divine Comedy,
Todd Terry,
The Sonics,
Camberwell Now,
Neil Young,
Cameo,
Liliput,
Robert Wyatt,
Reuben Wilson,
Gang Starr,
L. Decosne,
Underground Resistance,
Black Moon,
The American Breed,
Byron Stingily,
Henry Cow,
Slick Rick,
Kurtis Blow,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.