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 Algeria and from Copenhagen.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Spokane 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Charles Mingus to the dance 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 The Sisters of Mercy. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a L. Decosne record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Ronnie Foster,
The Mummies,
Andrew Ashong & Theo Parrish,
Gang Green,
Marc Almond,
Arcadia,
Henry Cow,
Crash Course in Science,
Dorothy Ashby,
The Divine Comedy,
Severed Heads,
the Soft Cell,
The Index,
Liliput,
Connie Case,
Dual Sessions,
Gabor Szabo,
X-102,
Iggy Pop,
The Move,
E-Dancer,
Rhythm & Sound,
Orchestral Manoeuvres in the Dark,
U.S. Maple,
Simply Red,
B.T. Express,
Groovy Waters,
Chrome,
Sad Lovers and Giants,
Q and Not U,
Lou Reed & John Cale,
Ronan,
H. Thieme,
Avey Tare,
Peter Gordon & Love of Life Orchestra,
Barclay James Harvest,
Albert Ayler,
Mad Mike,
Josef K,
Wally Richardson,
EPMD,
Echospace,
Howard Jones,
Youth Brigade,
Yusef Lateef,
Johnny Osbourne,
Neil Young & Crazy Horse,
Altered Images,
Pharoah Sanders,
The Trojans,
Sonic Youth,
The Electric Prunes,
Erasure,
Chris & Cosey,
Babytalk,
It's A Beautiful Day,
The Music Machine,
Television Personalities,
Spoonie Gee,
The Monochrome Set,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.