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 St Lucia and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Tehran 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 The Wake to the electroclash kids.
I played it at CBGB's.
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 Electric Light Orchestra. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Surgeon record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
John Holt,
Fifty Foot Hose,
Graham Central Station,
Sly & The Family Stone,
The American Breed,
Accadde A,
Bizarre Inc.,
Echo & the Bunnymen,
Terror Squad Feat. Camron,
World's Most,
Maleditus Sound,
Isaac Hayes,
Lizzy Mercier Descloux,
Oblivians,
Bootsy's Rubber Band,
Sex Pistols,
The Gap Band,
Swell Maps,
Henry Cow,
Marc Almond,
Index,
Niagra,
Siouxsie and the Banshees,
Lightning Bolt,
Eden Ahbez,
Michelle Simonal,
Cabaret Voltaire,
Kas Product,
Toni Rubio,
Jeff Lynne,
Sad Lovers and Giants,
Joe Finger,
Gregory Isaacs,
Fat Boys,
The Sound,
Youth Brigade,
Deadbeat,
Mission of Burma,
Black Sheep,
Glambeats Corp.,
Tres Demented,
Eyeless In Gaza,
The Cowsills,
Angry Samoans,
Jesper Dahlback,
Scion,
One Last Wish,
Danielle Patucci,
Animal Collective,
The Birthday Party,
Röyhkä ja Rättö ja Lehtisalo,
The Beau Brummels,
Country Teasers,
Shoche,
The Index,
Angels of Light & Akron/Family,
8 Eyed Spy,
David Axelrod,
Blossom Toes,
Marvin Gaye,
Magazine,
June of 44,
Lakeside, Lakeside, Lakeside, Lakeside.
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.