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 Nepal and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Beijing 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 Robert Palmer 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 Young Marble Giants to the crunk kids.
I played it at the Crocodile.
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 B.T. Express. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Tropical Tobacco,
Joensuu 1685,
Dawn Penn,
Bill Wells,
Arthur Verocai,
Bobby Hutcherson,
FM Einheit,
Soft Cell,
The Alarm Clocks,
Jeru the Damaja,
The Slackers,
The Black Dice,
Barbara Tucker,
Los Fastidios,
Robert Görl,
Amon Düül II,
The Dirtbombs,
Johnny Clarke,
The Names,
Swans,
Siglo XX,
Lakeside,
Aswad,
Pet Shop Boys,
Wire,
Mr. Review,
Fat Boys,
Deakin,
Yellowson,
Adolescents,
Eve St. Jones,
Radiopuhelimet,
Dorothy Ashby,
Slave,
The New Christs,
Lou Reed & John Cale,
The Wake,
Crime,
Jandek,
Grandmaster Flash,
The Selecter,
June of 44,
Lou Reed,
The Shadows of Knight,
CMW,
EPMD,
One Last Wish,
Pantytec,
D'Angelo,
Kaleidoscope,
Mo-Dettes,
Matthew Halsall,
Charles Mingus,
Curtis Mayfield,
Magazine,
Funkadelic,
Anakelly,
The Searchers,
Mark Hollis,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.