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 Luxembourg and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Ohio Players to the techno kids.
I played it at the Roxy.
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 Tommy Roe. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Tears for Fears,
Kevin Saunderson,
the Sonics,
Stereo Dub,
DNA,
Easy Going,
Dr. Dre and Snoop Doggy Dog,
Skriet,
Crime,
The Tremeloes,
Eric B and Rakim,
Rowland S Howard / Lydia Lunch,
Major Organ And The Adding Machine,
Stiv Bators,
Nik Kershaw,
Magazine,
The Pop Group,
Sun City Girls,
June of 44,
Delon & Dalcan,
John Holt,
FM Einheit,
Japan,
The Fall,
Porter Ricks,
Nas,
Newcleus,
Jeff Mills,
Grauzone,
Public Enemy,
Albert Ayler,
Unrelated Segments,
DJ Sneak,
Yellowson,
ABBA,
Parry Music,
Skaos,
The Men They Couldn't Hang,
Crash Course in Science,
Silicon Teens,
Laurel Aitken,
Wasted Youth,
Eddi Front,
Black Bananas,
Justin Hinds & The Dominoes,
The Detroit Cobras,
X-Ray Spex,
Pere Ubu,
The Leaves,
Bootsy Collins,
The Doors,
Mantronix,
Grandmaster Flash and the Furious Five,
Soft Machine,
Kool Moe Dee,
Brick,
Connie Case,
Circle Jerks,
Boz Scaggs,
Los Fastidios,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.