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 Serbia and from Johannesburg.
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 1979.
I'm losing my edge.
To all the kids in Accra and Woodstock.
I'm losing my edge to the art-school Spokane 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the rhodes 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 The Cramps to the jazz 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 Marine Girls. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Main Source,
Moby Grape,
Fatback Band,
Das Ding,
The United States of America,
Bizarre Inc.,
Quantec,
Juan Atkins,
The Star Department,
Smog,
Pet Shop Boys,
Matthew Bourne,
Joensuu 1685,
The Human League,
ABC,
Thompson Twins,
Guru Guru,
The Chocolate Watch Band,
Gil Scott-Heron and Jamie xx,
Pete Rock & C.L. Smooth,
Public Enemy,
Pagans,
Iggy Pop,
Danielle Patucci,
Motorama,
CMW,
Stockholm Monsters,
Joey Negro,
Circle Jerks,
Toni Rubio,
MDC,
The Gun Club,
Slick Rick,
Agitation Free,
Derrick May,
Ash Ra Tempel,
The Electric Prunes,
Deakin,
Archie Shepp,
Liliput,
Loose Ends,
Crash Course in Science,
The Fire Engines,
Barbara Tucker,
Crooked Eye,
E-Dancer,
Joe Finger,
Pulsallama,
48th St. Collective,
8 Eyed Spy,
L. Decosne,
Radio Birdman,
Robert Wyatt,
Zero Boys,
The Music Machine,
The Walker Brothers,
Mark Hollis,
The Young Rascals,
Mary Jane Girls,
John Coltrane,
Alice Coltrane,
Ice-T,
The Litter, The Litter, The Litter, The Litter.
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.