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 Tanzania and from Manchester.
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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Q and Not U to the rock 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 Amon Düül. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Sugar Minott,
Roxette,
Mark Hollis,
Be Bop Deluxe,
Gang Gang Dance,
Pierre Henry,
The Slackers,
Bootsy Collins,
Radiopuhelimet,
Hashim,
Rotary Connection,
The Residents,
Rekid,
the Normal,
Bill Wells,
Unwound,
Flipper,
Harpers Bizarre,
The Mummies,
Roxy Music,
Model 500,
Zero Boys,
Barbara Tucker,
Lafayette Afro Rock Band,
Goldenarms,
Intrusion,
Peter & Gordon,
Chris Corsano,
Cheater Slicks,
Agitation Free,
Kas Product,
The Dirtbombs,
Joe Smooth,
Jerry's Kids,
Roger Hodgson,
Bluetip,
Joey Negro,
ABC,
The Smoke,
48th St. Collective,
The Fortunes,
Thinking Fellers Union Local 282,
Davy DMX,
Matthew Bourne,
Stereo Dub,
Q and Not U,
Tom Boy,
Aloha Tigers,
Rufus Thomas,
Kool Moe Dee,
Joe Finger,
Sam Rivers,
Jacob Miller,
Parry Music,
Moss Icon,
Toni Rubio,
Peter Gordon & Love of Life Orchestra,
Heaven 17,
T.S.O.L.,
MDC,
Tropical Tobacco,
The Trojans,
Whodini, Whodini, Whodini, Whodini.
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.