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 Samoa and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Tokyo and Spokane.
I'm losing my edge to the art-school Lille 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Toni Rubio to the disco kids.
I played it at the 40 Watt.
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 Minor Threat. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every David Axelrod 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Gang Green,
Radiohead,
Agent Orange,
The Knickerbockers,
Blossom Toes,
The Leaves,
John Lydon,
Echo & the Bunnymen,
The Fugs,
Robert Hood,
Johnny Osbourne,
Animal Collective,
Howard Jones,
The Real Kids,
Index,
Ken Boothe,
The Associates,
The Modern Lovers,
Qualms,
A Certain Ratio,
Intrusion,
Marshall Jefferson,
Girls At Our Best!,
Toni Rubio,
Essential Logic,
Robert Wyatt,
Letta Mbulu,
World's Most,
Monks,
The Moody Blues,
Stiv Bators,
Audionom,
Alison Limerick,
Deepchord,
The Happenings,
Tropical Tobacco,
Gil Scott Heron,
Visage,
The Remains,
Bobby Sherman,
Chrome,
The Move,
Liaisons Dangereuses,
The Names,
the Germs,
Robert Görl,
James Chance & The Contortions,
Buzzcocks,
Black Bananas,
Bob Dylan,
Radio Birdman,
Lakeside,
The Moleskins,
It's A Beautiful Day,
Jerry's Kids,
John Holt,
Soft Machine,
Bluetip,
Black Sheep,
Sister Nancy,
Nirvana,
Ituana,
FM Einheit,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.