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 Cape Verde and from Winnipeg.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Lonnie Liston Smith to the disco 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 Marine Girls. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Crime,
Stockholm Monsters,
The Monochrome Set,
Sparks,
Kayak,
James White and The Blacks,
Q and Not U,
Smog,
Section 25,
the Slits,
Marine Girls,
Cheater Slicks,
Fear,
X-102,
Tommy Roe,
Harry Pussy,
Lou Reed & John Cale,
Ultimate Spinach,
DeepChord presents Echospace,
Terrestrial Tones,
New Order,
Eddi Front,
Mad Mike,
Franke,
Trumans Water,
Mars,
The Moody Blues,
Talk Talk,
John Lydon,
The Trojans,
The Red Krayola,
The Sound,
Rakim,
Soul II Soul,
LL Cool J,
Soft Machine,
David McCallum,
Sight & Sound,
Jacques Brel,
Brick,
Jacob Miller,
Joe Finger,
The Mighty Diamonds,
The Stooges,
Buzzcocks,
Essential Logic,
Sound Behaviour,
A Flock of Seagulls,
Amon Düül,
Pierre Henry,
Rites of Spring,
Robert Wyatt,
Jesper Dahlbäck,
The Motions,
Ultravox,
T. Rex,
Mr. Review,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.