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 Uruguay and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 London and Seoul.
I'm losing my edge to the art-school Salvador 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 mellotron 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 James White and The Blacks to the dance kids.
I played it at the Troubador.
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 Liliput. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Sun Ra,
Iggy Pop,
Faust,
Isaac Hayes,
Andrew Hill,
Anthony Braxton,
Notorious Big And Bone Thugs,
Eve St. Jones,
Agent Orange,
H. Thieme,
Prince Buster,
Joy Division,
Bauhaus,
The Slackers,
Piero Umiliani,
Carl Craig,
Oppenheimer Analysis,
Connie Case,
Aural Exciters,
The Searchers,
Loose Ends,
Spandau Ballet,
The Selecter,
L. Decosne,
Alton Ellis,
Nirvana,
Flash Fearless,
Mantronix,
the Fania All-Stars,
Q and Not U,
AZ,
Tim Buckley,
Bobby Hutcherson,
Lakeside,
Davy DMX,
Howard Jones,
Rod Modell,
Alice Coltrane,
Camouflage,
MDC,
Kool Moe Dee,
X-101,
Dennis Brown,
Sparks,
Alison Limerick,
the Swans,
New Age Steppers,
Gastr Del Sol,
Slick Rick,
Kevin Saunderson,
Joensuu 1685,
Joey Negro,
E-Dancer,
Rites of Spring,
Grandmaster Flash,
Lou Christie,
Dark Day,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.