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 Cambodia and from Paris.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Bologna 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 oboe 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 New York Dolls to the jazz kids.
I played it at the Crocodile.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Idris Muhammad,
X-Ray Spex,
Dark Day,
Orchestral Manoeuvres in the Dark,
Patti Smith,
Easy Going,
Babytalk,
Bizarre Inc.,
Gerry Rafferty,
Scion,
World's Most,
Roger Hodgson,
Anthony Braxton,
The Techniques,
The Mighty Diamonds,
Kenny Larkin,
Von Mondo,
Crooked Eye,
Archie Shepp,
Drive Like Jehu,
Lou Reed,
Hoover,
Rufus Thomas,
The New Christs,
Brass Construction,
Vainqueur,
Television Personalities,
48th St. Collective,
Glenn Branca,
Dead Boys,
The Moleskins,
Mandrill,
Zapp,
Deutsch Amerikanische Freundschaft,
Animal Collective,
Jerry Gold Smith,
PIL,
Absolute Body Control,
The Star Department,
Sister Nancy,
Mars,
Howard Jones,
The Stooges,
Bronski Beat,
Country Joe & The Fish,
Fifty Foot Hose,
Rekid,
Grandmaster Flash and the Furious Five,
The Saints,
The Barracudas,
the Germs,
Quadrant,
Stiv Bators,
Slave,
Trumans Water,
The Slits,
June of 44,
a-ha,
Au Pairs,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.