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 Woodstock.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Shanghai 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 Human League practice in a loft in Sheffield.
I was working on the oboe 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 Masters at Work to the grime kids.
I played it at the Crocodile.
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 Lightning Bolt. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Big Daddy Kane 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 '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Little Man,
Jerry Gold Smith,
Absolute Body Control,
The Wake,
Gang Green,
Bobby Sherman,
The Monochrome Set,
Radiohead,
Pharoah Sanders,
Ralphi Rosario,
Qualms,
Avey Tare & Kría Brekkan,
The Seeds,
the Human League,
Mandrill,
Kas Product,
Jesper Dahlback,
Stetsasonic,
Johnny Clarke,
Procol Harum,
Jandek,
Morten Harket,
Robert Wyatt,
Leonard Cohen,
Essential Logic,
Cabaret Voltaire,
Pete Rock & C.L. Smooth,
Intrusion,
Thinking Fellers Union Local 282,
The Sisters of Mercy,
The Cure,
Sound Behaviour,
Smog,
Ajijia Myrayebe,
Jacques Brel,
Brick,
Ash Ra Tempel,
Neu!,
10cc,
Bobby Byrd,
the Bar-Kays,
Pole,
Mantronix,
Severed Heads,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Marc Romboy vs. Booka Shade,
The Detroit Cobras,
Grandmaster Flash,
Strawberry Alarm Clock,
The United States of America,
the Soft Cell,
The Sound,
The Searchers,
The Standells,
Carl Craig,
Marc Almond,
The Dead C,
Subhumans,
Interpol,
The Count Five,
The Toasters,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.