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 Djibouti and from Portland.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Lille 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Lee Hazlewood 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 Sight & Sound. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Steve Hackett,
Warren Ellis,
Cluster,
Dennis Brown,
Livin' Joy,
Bang On A Can,
The Durutti Column,
Electric Light Orchestra,
Bobby Sherman,
Basic Channel,
Orchestral Manoeuvres in the Dark,
the Human League,
Amon Düül,
MC5,
Strawberry Alarm Clock,
Tom Boy,
The Monks,
UT,
Adolescents,
Sunsets and Hearts,
Prince Buster,
Half Japanese,
Lightning Bolt,
Todd Rundgren,
Joy Division,
Juan Atkins,
Symarip,
Crispian St. Peters,
New Age Steppers,
The Skatalites,
Ohio Players,
Royal Trux,
Sister Nancy,
Susan Cadogan,
Marmalade,
the Soft Cell,
Sam Rivers,
LL Cool J,
Angels of Light & Akron/Family,
Toni Rubio,
Angry Samoans,
Bill Wells,
Liaisons Dangereuses,
Alison Limerick,
Pete Rock & C.L. Smooth,
The Grass Roots,
The Doobie Brothers,
Fugazi,
The Last Poets,
The Velvet Underground,
Accadde A,
Rotary Connection,
Minutemen,
Bizarre Inc.,
Excepter,
Sonny Sharrock,
Terrestrial Tones,
Black Sheep,
Whodini,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.