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 El Salvador and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1975.
I'm losing my edge.
To all the kids in Columbus and Paris.
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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Doors to the electroclash kids.
I played it at the Hacienda.
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 The Techniques. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Archie Shepp 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Maurizio,
Eric Copeland,
John Holt,
James Chance & The Contortions,
The Buckinghams,
Royal Trux,
Urselle,
The Associates,
Man Parrish,
Marc Romboy vs. Booka Shade,
Babytalk,
Funky Four + One,
Buzzcocks,
Young Marble Giants,
Blossom Toes,
Swans,
Marvin Gaye,
Dual Sessions,
China Crisis,
Flash Fearless,
The Smoke,
Bobby Hutcherson,
Sonny Sharrock,
Curtis Mayfield,
Gil Scott-Heron & Brian Jackson,
Stetsasonic,
Bang On A Can,
Oppenheimer Analysis,
the Slits,
Sly & The Family Stone,
Roy Ayers Ubiquity,
The Move,
Ituana,
Soulsonic Force,
Bluetip,
Arcadia,
Make Up,
Steve Hackett,
Eyeless In Gaza,
Harry Pussy,
The Sound,
Los Fastidios,
The Jesus and Mary Chain,
U.S. Maple,
The Fall,
Black Bananas,
the Swans,
Jandek,
Infiniti,
June of 44,
The Gories,
The Shadows of Knight,
Lou Christie,
The Mummies,
The Seeds,
Reuben Wilson,
Gil Scott-Heron and Jamie xx,
Dave Gahan,
Eric B and Rakim,
Harmonia,
Deepchord, Deepchord, Deepchord, Deepchord.
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.