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 Vietnam and from Paris.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Beau Brummels to the techno 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 Kango’s Stein Massive. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
the Germs,
U.S. Maple,
Albert Ayler,
Colin Newman,
Matthew Bourne,
Sight & Sound,
Brand Nubian,
The J.B.'s,
Beasts of Bourbon,
X-102,
David McCallum,
H. Thieme,
the Fania All-Stars,
Amon Düül II,
Girls At Our Best!,
Susan Cadogan,
The Chocolate Watch Band,
Delon & Dalcan,
Mr. Review,
E-Dancer,
James Chance & The Contortions,
Prince Buster,
Eurythmics,
The Gories,
The Golliwogs,
Jacob Miller,
kango's stein massive,
Big Daddy Kane,
Lou Reed & John Cale,
Black Flag,
MDC,
Rapeman,
Flipper,
Shoche,
The Music Machine,
Deadbeat,
Bobby Hutcherson,
Fat Boys,
Glenn Branca,
Basic Channel,
Jerry's Kids,
the Association,
Public Image Ltd.,
Bootsy Collins,
Babytalk,
Electric Light Orchestra,
These Immortal Souls,
Darondo,
Bizarre Inc.,
Scratch Acid,
Jandek,
Black Bananas,
Kaleidoscope,
Ornette Coleman,
Slave,
Mark Hollis,
Visage,
The Cramps,
Fifty Foot Hose,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.