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 Oman and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Portland and Mumbai.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Kerrie Biddell to the electroclash 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 Albert Ayler. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Bill Wells 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 '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Vaughan Mason & Crew,
The Young Rascals,
The Barracudas,
Bush Tetras,
Steve Hackett,
Monolake,
The Searchers,
Thompson Twins,
Glambeats Corp.,
Aloha Tigers,
Rotary Connection,
Wings,
Byron Stingily,
Kool G Rap & DJ Polo,
Lyres,
Clear Light,
Moby Grape,
Ash Ra Tempel,
Eric B and Rakim,
Groovy Waters,
Sixth Finger,
The Cramps,
Janne Schatter,
Section 25,
John Holt,
Radiohead,
Rhythm & Sound,
Nirvana,
Procol Harum,
Public Image Ltd.,
Eurythmics,
The Sound,
DNA,
Laurel Aitken,
David McCallum,
The Martian,
Danielle Patucci,
Kings Of Tomorrow,
Rahsaan Roland Kirk,
Colin Newman,
Suicide,
Easy Going,
the Normal,
Radio Birdman,
New Age Steppers,
Kool Moe Dee,
L. Decosne,
Al Stewart,
Gong,
AZ,
Magazine,
Q and Not U,
Kauko Röyhkä ja Narttu,
the Swans,
Gil Scott-Heron & Brian Jackson,
Kenny Larkin,
Angry Samoans,
Qualms,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.