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 Cambodia and from Sao Paulo.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Paris 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 harpsichord 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 Stockholm Monsters to the rock 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 Normal. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Minnie Riperton,
Motorama,
Nas,
Todd Rundgren,
Avey Tare,
AZ,
Sixth Finger,
Agent Orange,
The Young Rascals,
The Leaves,
De La Soul & Jungle Brothers,
Tres Demented,
Symarip,
The Associates,
E-Dancer,
Kerrie Biddell,
The Jesus and Mary Chain,
Johnny Clarke,
James Chance & The Contortions,
Avey Tare & Kría Brekkan,
Heaven 17,
Ronnie Foster,
Half Japanese,
Max Romeo,
Soul Sonic Force,
Absolute Body Control,
LL Cool J,
Aaron Thompson,
Mars,
Danielle Patucci,
Lou Reed & Metallica,
Fear,
The Shadows of Knight,
Urselle,
Wolf Eyes,
Arthur Verocai,
The West Coast Pop Art Experimental Band,
Sister Nancy,
Graham Central Station,
The Beau Brummels,
Slick Rick,
Eddi Front,
the Sonics,
Sad Lovers and Giants,
Richard Hell and the Voidoids,
Kool Moe Dee,
Electric Prunes,
Inner City,
Animal Collective,
Fat Boys,
Brass Construction,
The Gories,
Black Pus,
Isaac Hayes,
Pylon,
MC5,
Reagan Youth,
Spandau Ballet,
Marmalade,
The Cramps,
Black Flag,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.