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 Brunei and from Mumbai.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Janne Schatter to the techno kids.
I played it at the Troubador.
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 Jesper Dahlback. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Terry Callier 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day 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?
Ultravox,
Manfred Mann's Earth Band,
Arthur Verocai,
Nas,
The Standells,
Bizarre Inc.,
DeepChord presents Echospace,
Lou Christie,
the Sonics,
Rod Modell,
Chris Corsano,
Scratch Acid,
Bootsy Collins,
Stiv Bators,
Oblivians,
The Divine Comedy,
Livin' Joy,
The Tremeloes,
Traffic Nightmare,
Man Eating Sloth,
B.T. Express,
Massinfluence,
Ultramagnetic MC's,
Peter & Gordon,
Eyeless In Gaza,
Ronan,
Sexual Harrassment,
Wings,
Excepter,
Mars,
Fugazi,
Brick,
Skaos,
MC5,
The Gladiators,
UT,
Rapeman,
Dead Boys,
Johnny Osbourne,
The Residents,
Siglo XX,
Banda Bassotti,
Radiohead,
Pylon,
Ituana,
Gary Puckett & The Union Gap,
In Retrospect,
Ossler,
Adolescents,
Cal Tjader,
Groovy Waters,
Subhumans,
Matthew Bourne,
David Bowie,
Thee Headcoats,
Sly & The Family Stone,
Girls At Our Best!,
The Pop Group,
The Blues Magoos,
Al Stewart,
The Young Rascals,
Wighnomy Brothers & Robag Wruhme,
June of 44, June of 44, June of 44, June of 44.
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.