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 Romania and from Jakarta.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Jakarta 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 Wire practice in a loft in Watford.
I was working on the theremin 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 Mummies to the jazz 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 Avey Tare. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
D'Angelo,
Teenage Jesus and the Jerks,
Joey Negro,
Deadbeat,
Can,
Fela Kuti,
Jerry's Kids,
Sex Pistols,
Wighnomy Brothers & Robag Wruhme,
Sly & The Family Stone,
The Electric Prunes,
The Fuzztones,
Slave,
David Bowie,
Juan Atkins,
Little Man,
Harmonia,
James White and The Blacks,
Q65,
Gil Scott-Heron & Brian Jackson,
Kango’s Stein Massive,
Saccharine Trust,
The Doors,
Con Funk Shun,
Oneida,
Banda Bassotti,
Metal Thangz,
The Young Rascals,
The Blues Magoos,
Spandau Ballet,
Tres Demented,
Yaz,
Bush Tetras,
Brothers Johnson,
The Moody Blues,
Harpers Bizarre,
Gil Scott-Heron and Jamie xx,
Kauko Röyhkä ja Narttu,
The Vogues,
Unrelated Segments,
Joe Finger,
Kenny Larkin,
Liliput,
Soft Cell,
The Gladiators,
Cybotron,
L. Decosne,
Silicon Teens,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rod Modell,
Duran Duran,
Visage,
The Mummies,
Sällskapet,
Barrington Levy,
MC5,
Crispian St. Peters,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.