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 Poland 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 1964 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Subhumans to the techno 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 The Sisters of Mercy. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Trojans,
Sister Nancy,
CMW,
Rapeman,
Tomorrow,
Skriet,
Scion,
Vladislav Delay,
Joensuu 1685,
These Immortal Souls,
Isaac Hayes,
Vaughan Mason & Crew,
The West Coast Pop Art Experimental Band,
The Motions,
Girls At Our Best!,
Kerrie Biddell,
Lee Hazlewood,
Morten Harket,
48th St. Collective,
Colin Newman,
Gary Puckett & The Union Gap,
Jerry's Kids,
Eve St. Jones,
Jandek,
John Holt,
The Pop Group,
Ohio Players,
Easy Going,
Nik Kershaw,
Subhumans,
Basic Channel,
Scrapy,
Kas Product,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lou Christie,
New York Dolls,
Eric Copeland,
Spandau Ballet,
Gil Scott Heron,
It's A Beautiful Day,
Marshall Jefferson,
The Skatalites,
Moss Icon,
The Divine Comedy,
L. Decosne,
Banda Bassotti,
The Victims,
Nick Cave & The Bad Seeds,
Average White Band,
The Star Department,
Maleditus Sound,
Pagans,
Popol Vuh,
Goldenarms,
Flash Fearless,
Stockholm Monsters,
Bush Tetras,
Lower 48,
Spoonie Gee,
Liliput,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.