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 Zambia and from Johannesburg.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Accra.
I'm losing my edge to the art-school New York 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 chamberlin 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 Smoke to the crunk 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 Reuben Wilson. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Youth Brigade 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Rahsaan Roland Kirk,
Cybotron,
Second Layer,
World's Most,
Technova,
These Immortal Souls,
Boogie Down Productions,
The Invisible,
Can,
Robert Hood,
Tim Buckley,
Stereo Dub,
Ohio Players,
The Blackbyrds,
Pet Shop Boys,
Gong,
MC5,
The Last Poets,
Pagans,
Rhythm & Sound,
The Zeros,
Mr. Review,
The Evens,
FM Einheit,
Model 500,
Judy Mowatt,
MDC,
H. Thieme,
The Wake,
Kango’s Stein Massive,
Harmonia,
Agent Orange,
Sad Lovers and Giants,
Y Pants,
Brothers Johnson,
Half Japanese,
Gary Puckett & The Union Gap,
The Dead C,
The Velvet Underground,
The Raincoats,
Dual Sessions,
the Swans,
Sly & The Family Stone,
Dark Day,
Lou Reed,
Outsiders,
Harry Pussy,
L. Decosne,
Yusef Lateef,
Kool Moe Dee,
The Flesh Eaters,
Wolf Eyes,
Louis and Bebe Barron,
PIL,
La Düsseldorf,
The Count Five,
Peter & Gordon,
X-101, X-101, X-101, X-101.
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.