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 Maldives and from London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Cairo and Shanghai.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Wire to the dance kids.
I played it at the Roxy.
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 the Soft Cell. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal crunk 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 Fatback Band record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Terry Callier,
Porter Ricks,
Piero Umiliani,
The Neon Judgement,
Jacques Brel,
F. McDonald,
Notorious Big And Bone Thugs,
Half Japanese,
Frankie Knuckles,
Orchestral Manoeuvres in the Dark,
Crooked Eye,
Model 500,
The Move,
The New Christs,
Drexciya,
Metal Thangz,
Faraquet,
Lucky Dragons,
The Zeros,
Simply Red,
Chrome,
Aloha Tigers,
Black Flag,
The Velvet Underground,
James Chance & The Contortions,
Yellowson,
Johnny Clarke,
Black Pus,
Peter & Gordon,
Colin Newman,
Fela Kuti,
Alison Limerick,
John Cale,
The Gories,
Parry Music,
Bobby Byrd,
Lee Hazlewood,
Ronnie Foster,
Harpers Bizarre,
Delta 5,
Judy Mowatt,
Rod Modell,
CMW,
L. Decosne,
Easy Going,
The Real Kids,
Neil Young,
Fad Gadget,
Ituana,
The Mojo Men,
Television,
A Certain Ratio,
The Remains,
Danielle Patucci,
Buzzcocks,
Pylon,
Absolute Body Control,
The Monochrome Set,
The Divine Comedy,
Gang Starr,
Minutemen,
PIL, PIL, PIL, PIL.
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.