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 Sri Lanka and from Tokyo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Salvador and Halifax.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Matthew Bourne to the rock kids.
I played it at Trash.
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 Dead Boys. All the underground hits.
All Angels of Light & Akron/Family tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Lizzy Mercier Descloux,
Procol Harum,
Fear,
Howard Jones,
DNA,
Wally Richardson,
Gong,
Jesper Dahlback,
Dorothy Ashby,
Moebius,
Subhumans,
Suicide,
Bizarre Inc.,
Angry Samoans,
the Slits,
The Five Americans,
Slick Rick,
The Leaves,
Silicon Teens,
Boredoms,
The Peanut Butter Conspiracy,
Lebanon Hanover,
Camron Feat. Jay Z And Juelz,
Lafayette Afro Rock Band,
Scrapy,
Crime,
Roger Hodgson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
MC5,
Eyeless In Gaza,
Louis and Bebe Barron,
Technova,
Man Eating Sloth,
Ralphi Rosario,
the Human League,
Kerrie Biddell,
Terror Squad Feat. Camron,
Ash Ra Tempel,
Brick,
New Age Steppers,
Unrelated Segments,
U.S. Maple,
Schoolly D,
The Monks,
Todd Rundgren,
Ornette Coleman,
Carl Craig,
cv313,
The Slackers,
Mission of Burma,
Mandrill,
Animal Collective,
Easy Going,
Swans,
Rhythm & Sound,
Connie Case,
London Community Gospel Choir,
Blancmange,
The Happenings,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.