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 Niger and from Houston.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school London 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 snare 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 Outsiders to the crunk kids.
I played it at the Astoria.
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 Vladislav Delay. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Kaleidoscope,
The Skatalites,
Drive Like Jehu,
Matthew Halsall,
Bush Tetras,
T. Rex,
Morten Harket,
Rosa Yemen,
Graham Central Station,
London Community Gospel Choir,
The Fortunes,
Mad Mike,
Altered Images,
Yazoo,
Porter Ricks,
These Immortal Souls,
Panda Bear,
Whodini,
Fat Boys,
The Gun Club,
Kerrie Biddell,
Eric B and Rakim,
Crispian St. Peters,
Anthony Braxton,
Kevin Saunderson,
Country Teasers,
Pole,
Fatback Band,
K-Klass,
Marc Romboy vs. Booka Shade,
Franke,
Lafayette Afro Rock Band,
The Zeros,
Marc Almond,
Mission of Burma,
The Doors,
DJ Sneak,
The Durutti Column,
Circle Jerks,
Model 500,
Scratch Acid,
Jeff Lynne,
Big Daddy Kane,
Minny Pops,
David McCallum,
Albert Ayler,
Crooked Eye,
Unrelated Segments,
Deepchord,
The Sound,
Major Organ And The Adding Machine,
The Busters,
Gabor Szabo,
F. McDonald,
Avey Tare,
Fifty Foot Hose,
Heavy D & The Boyz,
The Leaves,
Parry Music,
Connie Case, Connie Case, Connie Case, Connie Case.
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.