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 Ivory Coast and from Tehran.
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 Tokyo and Cairo.
I'm losing my edge to the art-school Copenhagen 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 A Certain Ratio to the techno kids.
I played it at the Spitz.
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 Mark Hollis. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
The Young Rascals,
Accadde A,
Major Organ And The Adding Machine,
Groovy Waters,
Barry Ungar,
Max Romeo,
The West Coast Pop Art Experimental Band,
John Coltrane,
Fifty Foot Hose,
Erykah Badu,
The Mighty Diamonds,
Spandau Ballet,
The Pretty Things,
Porter Ricks,
Mary Jane Girls,
Electric Light Orchestra,
Television,
Niagra,
Rufus Thomas,
The Beau Brummels,
Clear Light,
Black Pus,
Dead Boys,
F. McDonald,
Sun City Girls,
Rhythm & Sound,
Outsiders,
Jeru the Damaja,
Bad Manners,
Steve Hackett,
Radio Birdman,
The Dave Clark Five,
Eric Dolphy,
Gary Puckett & The Union Gap,
Black Bananas,
Wighnomy Brothers & Robag Wruhme,
The Zeros,
R.M.O.,
Harry Pussy,
Popol Vuh,
Pantaleimon,
Louis and Bebe Barron,
Peter Gordon & Love of Life Orchestra,
Eyeless In Gaza,
Black Flag,
Amon Düül,
Pharoah Sanders,
The Selecter,
The Kinks,
AZ,
The Names,
Grauzone,
Larry & the Blue Notes,
Roxy Music,
Gang Green,
Bauhaus,
The Happenings,
Fluxion,
Scrapy,
One Last Wish,
Johnny Clarke,
Country Joe & The Fish,
The Star Department,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.