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 Saudi Arabia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Mumbai 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 DJ Style to the rap kids.
I played it at Trash.
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 Laurel Aitken. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Babytalk,
ABC,
Talk Talk,
Toni Rubio,
Amon Düül II,
Wasted Youth,
Model 500,
Lou Reed & John Cale,
The Slackers,
Desert Stars,
The Gap Band,
Amon Düül,
Anthony Braxton,
Joe Smooth,
Louis and Bebe Barron,
Sex Pistols,
Red Lorry Yellow Lorry,
Crash Course in Science,
Morten Harket,
Peter & Gordon,
Gian Franco Pienzio,
Jesper Dahlbäck,
Isaac Hayes,
Roxette,
Chrome,
Wings,
Thee Headcoats,
Matthew Bourne,
R.M.O.,
48th St. Collective,
Neu!,
Ultra Naté,
Connie Case,
The Birthday Party,
The West Coast Pop Art Experimental Band,
Joey Negro,
Eden Ahbez,
Schoolly D,
Gerry Rafferty,
Susan Cadogan,
Delta 5,
Byron Stingily,
Dave Gahan,
Grauzone,
Black Moon,
Bill Wells,
Tears for Fears,
H. Thieme,
Rufus Thomas,
Heavy D & The Boyz,
The Motions,
The Golliwogs,
X-Ray Spex,
Sällskapet,
Dorothy Ashby,
Godley & Creme,
Donald Byrd,
Jerry Gold Smith,
Moss Icon,
Radiopuhelimet,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.