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 Cyprus and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Seoul 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe 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 Johnny Osbourne to the grunge kids.
I played it at the Roxy.
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 Cosmic Jokers. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Crooked Eye,
The Modern Lovers,
Grandmaster Flash and the Furious Five,
Art Ensemble Of Chicago,
Eve St. Jones,
Agitation Free,
Charles Mingus,
The Kinks,
Bronski Beat,
Unrelated Segments,
Skarface,
Bootsy's Rubber Band,
X-102,
Nik Kershaw,
Slick Rick,
Talk Talk,
Rufus Thomas,
The West Coast Pop Art Experimental Band,
Glambeats Corp.,
Minnie Riperton,
Brand Nubian,
Jerry's Kids,
Andrew Ashong & Theo Parrish,
Roxette,
Jeru the Damaja,
R.M.O.,
X-Ray Spex,
Country Teasers,
The Jesus and Mary Chain,
The Gladiators,
Zapp,
Soul Sonic Force,
Kings Of Tomorrow,
Prince Buster,
The Star Department,
Vaughan Mason & Crew,
Rosa Yemen,
Pussy Galore,
Howard Jones,
Main Source,
Spoonie Gee,
Pole,
Silicon Teens,
The Fugs,
Boredoms,
Q65,
Sonny Sharrock,
Minor Threat,
Lucky Dragons,
The Doors,
Pagans,
La Düsseldorf,
David Axelrod,
Blake Baxter,
Neil Young & Crazy Horse,
The Detroit Cobras,
Mary Jane Girls,
Bob Dylan,
DeepChord presents Echospace,
Lou Reed & Metallica,
Sunsets and Hearts,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.