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 Paraguay and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Mexico City 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 Feelies practice in a loft in Haledon.
I was working on the güiro 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 Pharoah Sanders to the techno kids.
I played it at Cafe Wha.
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 Country Joe & The Fish. All the underground hits.
All Faraquet 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 techno 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
The Fire Engines,
Roy Ayers Ubiquity,
Junior Murvin,
In Retrospect,
Avey Tare's Slasher Flicks,
Urselle,
Swell Maps,
Red Lorry Yellow Lorry,
The Happenings,
Roxy Music,
Fat Boys,
Clear Light,
Jandek,
Gerry Rafferty,
48th St. Collective,
Radiohead,
Malaria!,
EPMD,
Cal Tjader,
Terry Callier,
Aswad,
Television,
Minny Pops,
Drive Like Jehu,
Jeru the Damaja,
Pylon,
Absolute Body Control,
Interpol,
Aloha Tigers,
Lizzy Mercier Descloux,
Wire,
Can,
The Jesus and Mary Chain,
Nirvana,
Skarface,
10cc,
Ultimate Spinach,
Crispian St. Peters,
Porter Ricks,
Trumans Water,
Pere Ubu,
The Pop Group,
Howard Jones,
Laurel Aitken,
Moebius,
One Last Wish,
Eyeless In Gaza,
Graham Central Station,
Goldenarms,
Judy Mowatt,
Alton Ellis,
Dual Sessions,
Orchestral Manoeuvres in the Dark,
Minutemen,
Lalo Schifrin,
The Divine Comedy,
The Offenders,
ABBA,
Visage, Visage, Visage, Visage.
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.