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 Trinidad & Tobago and from Milan.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Salvador and Salvador.
I'm losing my edge to the art-school Taipei 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 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 Hasil Adkins to the rap 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 Max Romeo. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Fifty Foot Hose,
Clear Light,
Bill Wells,
Idris Muhammad,
Das Ding,
Matthew Bourne,
Quadrant,
The Neon Judgement,
EPMD,
Royal Trux,
Crispian St. Peters,
New Order,
John Holt,
Matthew Halsall,
Visionaries,LMNO, T- Love & Iriscience,
Agitation Free,
Parry Music,
R.M.O.,
Accadde A,
Nico,
Adolescents,
Procol Harum,
Drexciya,
Grandmaster Flash and the Furious Five,
Ossler,
Faust,
The Saints,
Howard Jones,
Red Lorry Yellow Lorry,
The Fire Engines,
Animal Collective,
Delta 5,
Panda Bear,
Livin' Joy,
Rod Modell,
Jesper Dahlback,
Notorious BIG live in Amsterdam,
Mission of Burma,
Jeff Lynne,
Lee Hazlewood,
Warsaw,
Eyeless In Gaza,
Flash Fearless,
Sun Ra Arkestra,
Rhythm & Sound,
Sight & Sound,
Radiopuhelimet,
Dead Boys,
Amon Düül II,
Manfred Mann's Earth Band,
Aaron Thompson,
Eddi Front,
Gary Puckett & The Union Gap,
Kerri Chandler,
Television,
Au Pairs,
Dennis Brown,
Ten City,
Anakelly,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.