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 Guyana and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Columbus 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 snare 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 Joe Smooth to the grime 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 Depeche Mode. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Supertramp,
The Index,
Subhumans,
Bronski Beat,
Peter and Kerry,
The Sisters of Mercy,
Soft Machine,
Bootsy Collins,
Quadrant,
Matthew Bourne,
Dawn Penn,
Gary Puckett & The Union Gap,
Arab on Radar,
Moss Icon,
Public Image Ltd.,
Bobby Byrd,
Barbara Tucker,
The Birthday Party,
Sandy B,
Johnny Clarke,
The Fuzztones,
The Motions,
Zapp,
Newcleus,
Ten City,
Archie Shepp,
Youth Brigade,
Fad Gadget,
John Foxx,
Derrick Morgan,
Soulsonic Force,
Leonard Cohen,
Bobby Sherman,
David Axelrod,
Pole,
the Swans,
New Age Steppers,
Sugar Minott,
Jerry Gold Smith,
The United States of America,
Parry Music,
This Heat,
X-101,
Donald Byrd,
Susan Cadogan,
Talk Talk,
Fela Kuti,
Schoolly D,
Darondo,
Au Pairs,
Camouflage,
Absolute Body Control,
Lafayette Afro Rock Band,
Echospace,
Delta 5,
Louis and Bebe Barron,
Lou Reed & John Cale,
Harmonia,
Interpol,
Wolf Eyes,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.