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 New Zealand and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
I'm losing my edge to the art-school Tokyo 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 808 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 Peter and Kerry to the grunge 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 Richard Hell and the Voidoids. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin 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 Golliwogs,
The Sonics,
The Dirtbombs,
Strawberry Alarm Clock,
Radio Birdman,
Eric Copeland,
Gary Puckett & The Union Gap,
Janne Schatter,
Sly & The Family Stone,
the Swans,
Dave Gahan,
Young Marble Giants,
The Mummies,
Smog,
Tom Boy,
The Associates,
Q65,
F. McDonald,
the Human League,
The West Coast Pop Art Experimental Band,
The Electric Prunes,
EPMD,
Organ,
Accadde A,
Fear,
Popol Vuh,
Hashim,
Jacques Brel,
Yellowson,
Skriet,
LL Cool J,
Blancmange,
Mr. Review,
Ajijia Myrayebe,
Grandmaster Flash and the Furious Five,
The Seeds,
Bill Near,
Eden Ahbez,
Selector Dub Narcotic,
Red Lorry Yellow Lorry,
Dual Sessions,
The Skatalites,
Cluster,
T. Rex,
Marshall Jefferson,
Donny Hathaway,
Kayak,
Wasted Youth,
Jandek,
The Moleskins,
Visage,
Make Up,
Laurel Aitken,
The Saints,
The Sound,
Roxette,
Theoretical Girls,
The Detroit Cobras,
Tres Demented,
Andrew Ashong & Theo Parrish,
Agent Orange,
Aswad,
Michelle Simonal,
Gerry Rafferty,
UT, UT, UT, UT.
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.