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 Finland and from Winnipeg.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school New York 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 rhodes 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 Deadbeat to the dance kids.
I played it at Cafe Wha.
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 Danielle Patucci. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Cosmic Jokers,
Inner City,
Television,
Pagans,
The Sound,
Sun City Girls,
Eric Copeland,
Icehouse,
Lou Reed,
Big Daddy Kane,
Liaisons Dangereuses,
Scientists,
China Crisis,
Dual Sessions,
Art Ensemble Of Chicago,
Janne Schatter,
Gang Starr,
Depeche Mode,
Bronski Beat,
The Offenders,
James White and The Blacks,
The Angels of Light,
Swell Maps,
Brick,
Albert Ayler,
Rod Modell,
Ultra Naté,
London Community Gospel Choir,
Pantaleimon,
Cabaret Voltaire,
Suicide,
Sly & The Family Stone,
Ultravox,
The Moody Blues,
June of 44,
Juan Atkins,
Underground Resistance,
Aaron Thompson,
Eyeless In Gaza,
the Soft Cell,
Lindisfarne,
The Walker Brothers,
X-Ray Spex,
Alphaville,
Toni Rubio,
Soft Cell,
Dave Gahan,
Piero Umiliani,
Eric B and Rakim,
Eli Mardock,
Hot Snakes,
Barrington Levy,
Wally Richardson,
cv313,
Rakim,
The Blackbyrds,
U.S. Maple,
Bootsy's Rubber Band,
Lucky Dragons,
The United States of America,
Audionom,
The Zeros, The Zeros, The Zeros, The Zeros.
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.