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 Qatar and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 Aural Exciters to the electroclash kids.
I played it at the Spitz.
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 Crash Course in Science. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Leonard Cohen 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 '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Sly & The Family Stone,
The Toasters,
DNA,
Main Source,
Blake Baxter,
The Sisters of Mercy,
Minor Threat,
The Smiths,
Big Daddy Kane,
Josef K,
Maurizio,
The Count Five,
Sex Pistols,
Arab on Radar,
Cluster,
The American Breed,
The Black Dice,
The Cramps,
De La Soul & Jungle Brothers,
Livin' Joy,
Oppenheimer Analysis,
Morten Harket,
Lightning Bolt,
Sixth Finger,
Nation of Ulysses,
Jerry Gold Smith,
Freddie Wadling,
The Fuzztones,
The Men They Couldn't Hang,
Mantronix,
Stetsasonic,
Al Stewart,
Mad Mike,
Howard Jones,
The Last Poets,
Lindisfarne,
Ituana,
Roxette,
Index,
Roxy Music,
Althea and Donna,
Bill Near,
Siglo XX,
Japan,
Jerry's Kids,
Bronski Beat,
Ultravox,
the Sonics,
Warren Ellis,
Pylon,
MC5,
The Fall,
Sticky Fingaz feat. Raekwon,
Sunsets and Hearts,
The J.B.'s,
The Doors,
Ronnie Foster,
Deadbeat,
The Move,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.