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 Burkina and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school London 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 organ 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 Marcia Griffiths to the funk kids.
I played it at Cafe Wha.
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 Archie Shepp. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal funk 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
The Alarm Clocks,
The Fugs,
Joe Smooth,
Gian Franco Pienzio,
The Gladiators,
Barry Ungar,
Surgeon,
Marcia Griffiths,
Cybotron,
Niagra,
The Human League,
Manfred Mann's Earth Band,
Girls At Our Best!,
Kurtis Blow,
the Soft Cell,
Anakelly,
Gang of Four,
Be Bop Deluxe,
Wire,
Rekid,
Outsiders,
the Bar-Kays,
Roxette,
The American Breed,
Reuben Wilson,
Easy Going,
Scrapy,
Röyhkä ja Rättö ja Lehtisalo,
Max Romeo,
Smog,
Depeche Mode,
Johnny Osbourne,
X-101,
Stockholm Monsters,
Eve St. Jones,
Theoretical Girls,
Whodini,
The Searchers,
Alison Limerick,
Kenny Larkin,
The Black Dice,
The Smiths,
Chris & Cosey,
Man Parrish,
MC5,
Amon Düül,
48th St. Collective,
David McCallum,
Lou Reed,
Henry Cow,
Notorious Big And Bone Thugs,
Crash Course in Science,
CMW,
Strawberry Alarm Clock,
The Skatalites,
Dawn Penn,
Peter & Gordon,
Aloha Tigers,
Marc Almond,
Duran Duran,
Ken Boothe,
Scott Walker,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.