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 Burundi and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 The Blackbyrds to the rap kids.
I played it at CBGB's.
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 Howard Jones. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Archie Shepp,
Flamin' Groovies,
Visage,
The Divine Comedy,
Warsaw,
Quando Quango,
Kas Product,
Anthony Braxton,
Television Personalities,
Ronan,
Heavy D & The Boyz,
Country Teasers,
Captain Beefheart & His Magic Band,
The Modern Lovers,
Echo & the Bunnymen,
Mr. Review,
Danielle Patucci,
Super Lover Cee & Casanova Rud,
Cheater Slicks,
Gastr Del Sol,
Maleditus Sound,
X-Ray Spex,
Radio Birdman,
Lucky Dragons,
Michelle Simonal,
Matthew Bourne,
Lungfish,
Qualms,
Au Pairs,
Toni Rubio,
Donny Hathaway,
Niagra,
The Walker Brothers,
T.S.O.L.,
Sällskapet,
New York Dolls,
Marcia Griffiths,
The Slits,
Interpol,
Stetsasonic,
Boredoms,
Eddi Front,
Susan Cadogan,
Crime,
Matthew Halsall,
Bob Dylan,
John Holt,
Main Source,
Tubeway Army,
Jacques Brel,
Rhythm & Sound,
Wolf Eyes,
Max Romeo,
The Tremeloes,
Soulsonic Force,
The Barracudas,
Kool G Rap & DJ Polo,
Pharoah Sanders,
Mad Mike,
Pole,
The Cramps, The Cramps, The Cramps, The Cramps.
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.