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 Solomon Islands and from Manila.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bologna and Woodstock.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ 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 Normal to the punk 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 Mantronix. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Mark Hollis 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 '90s.
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 Rod Modell record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
DJ Style,
Masters at Work,
Technova,
Echospace,
Silicon Teens,
Tubeway Army,
Animal Collective,
Camouflage,
Moby Grape,
John Coltrane,
Lakeside,
Warsaw,
The Raincoats,
Fear,
The Human League,
Rotary Connection,
Teenage Jesus and the Jerks,
Harry Pussy,
Massinfluence,
Eddi Front,
The Neon Judgement,
The Offenders,
The Angels of Light,
Terry Callier,
Lou Reed & Metallica,
Whodini,
Country Joe & The Fish,
Lebanon Hanover,
Sonic Youth,
Monolake,
Pet Shop Boys,
Grandmaster Flash,
Bootsy Collins,
Second Layer,
Soft Machine,
It's A Beautiful Day,
New Age Steppers,
John Holt,
Mo-Dettes,
Warren Ellis,
Zapp,
Motorama,
Crash Course in Science,
The Royal Family And The Poor,
Andrew Ashong & Theo Parrish,
Selector Dub Narcotic,
Crispian St. Peters,
Boogie Down Productions,
Judy Mowatt,
X-102,
The Wake,
Terror Squad Feat. Camron,
Grauzone,
Ash Ra Tempel,
Robert Görl,
Malaria!,
Throbbing Gristle,
The Moleskins,
Scott Walker,
Charles Mingus,
The Skatalites,
Avey Tare's Slasher Flicks,
Barry Ungar,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.