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 South Africa and from Mexico City.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lyon and Toronto.
I'm losing my edge to the art-school Columbus 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 Lou Reed 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 Thinking Fellers Union Local 282 to the disco 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 World's Most. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every the Germs 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Section 25,
Louis and Bebe Barron,
Deadbeat,
The Alarm Clocks,
Sex Pistols,
Piero Umiliani,
Newcleus,
Lalann,
Blancmange,
Bobby Hutcherson,
The Red Krayola,
Intrusion,
The Walker Brothers,
Alison Limerick,
Loose Ends,
Terrestrial Tones,
The Trojans,
T. Rex,
Prince Buster,
The Angels of Light,
Joyce Sims,
In Retrospect,
Erasure,
Scientists,
The Skatalites,
Donald Byrd,
Sun Ra Arkestra,
Rekid,
the Human League,
Gil Scott-Heron & Brian Jackson,
The Detroit Cobras,
Massinfluence,
Al Stewart,
L. Decosne,
Funkadelic,
The Jesus and Mary Chain,
Yusef Lateef,
Jeff Lynne,
Althea and Donna,
Au Pairs,
Inner City,
Kas Product,
Pantaleimon,
The Associates,
Michelle Simonal,
The Tremeloes,
Girls At Our Best!,
Thee Headcoats,
Neil Young,
Altered Images,
Magma,
Ten City,
Dr. Dre and Snoop Doggy Dog,
Fad Gadget,
Moss Icon,
Unrelated Segments,
FM Einheit,
Kaleidoscope,
Electric Prunes,
One Last Wish,
Faust,
Cymande, Cymande, Cymande, Cymande.
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.