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 Benin and from Madrid.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Lou Reed & Metallica to the crunk 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 Yellowson. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Morten Harket,
Bobby Hutcherson,
Sister Nancy,
E-Dancer,
Traffic Nightmare,
Kerrie Biddell,
Avey Tare's Slasher Flicks,
June of 44,
Harmonia,
Tubeway Army,
James White and The Blacks,
Sad Lovers and Giants,
Soulsonic Force,
John Foxx,
Kurtis Blow,
Quando Quango,
This Heat,
The Dave Clark Five,
the Human League,
Deadbeat,
the Normal,
Arcadia,
Adolescents,
Orchestral Manoeuvres in the Dark,
Thee Headcoats,
Moby Grape,
Barclay James Harvest,
Fat Boys,
The Fall,
Sandy B,
Ossler,
The Detroit Cobras,
MDC,
Rufus Thomas,
Bauhaus,
Altered Images,
Eli Mardock,
UT,
The Red Krayola,
Scientists,
Joyce Sims,
Parry Music,
Selector Dub Narcotic,
Rhythim Is Rhythim,
Boogie Down Productions,
Chrome,
The Sisters of Mercy,
Bobby Sherman,
Barrington Levy,
Eve St. Jones,
Hasil Adkins,
Mantronix,
Lizzy Mercier Descloux,
The Stooges,
Nation of Ulysses,
Nils Olav,
Donald Byrd,
Sonny Sharrock,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.