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 Ecuador and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 Manchester and Lille.
I'm losing my edge to the art-school Tehran 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 spring reverb 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 Marc Almond to the funk kids.
I played it at the Astoria.
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 Suburban Knight. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Arthur Verocai,
The Gories,
Desert Stars,
Black Moon,
Gil Scott Heron,
Kurtis Blow,
Sällskapet,
Adolescents,
Moss Icon,
10cc,
Liliput,
Dual Sessions,
Alice Coltrane,
DJ Style,
Jerry Gold Smith,
The Royal Family And The Poor,
Echo & the Bunnymen,
Eddi Front,
Oblivians,
Half Japanese,
Bobby Byrd,
The Fortunes,
The Durutti Column,
Larry & the Blue Notes,
Echospace,
Agent Orange,
Easy Going,
Carl Craig,
Curtis Mayfield,
Lalann,
The Gap Band,
The Mojo Men,
Lou Christie,
Amon Düül II,
Nirvana,
Byron Stingily,
Mo-Dettes,
Marcia Griffiths,
Tears for Fears,
Maleditus Sound,
Marc Romboy vs. Booka Shade,
Notorious Big And Bone Thugs,
The Fall,
Fifty Foot Hose,
Freddie Wadling,
Warsaw,
Rosa Yemen,
Bob Dylan,
Junior Murvin,
Patti Smith,
A Certain Ratio,
The Remains,
the Germs,
Avey Tare,
Tres Demented,
Leonard Cohen,
Camouflage,
Urselle,
Gang Starr,
Scratch Acid,
Joensuu 1685,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.