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 Portugal and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1976.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Banda Bassotti to the dance kids.
I played it at the 40 Watt.
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 Josef K. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Tropical Tobacco,
Accadde A,
The Standells,
Grandmaster Flash and the Furious Five,
Lakeside,
Althea and Donna,
Nation of Ulysses,
Bill Wells,
Man Eating Sloth,
Barbara Tucker,
The Star Department,
Maurizio,
the Soft Cell,
B.T. Express,
Magazine,
Moss Icon,
Ice-T,
Toni Rubio,
X-101,
Agent Orange,
Man Parrish,
Intrusion,
Slave,
Iggy Pop,
Mo-Dettes,
The Golliwogs,
Sound Behaviour,
the Human League,
The Jesus and Mary Chain,
Los Fastidios,
Tommy Roe,
Erasure,
Gang Starr,
Excepter,
Siouxsie and the Banshees,
Jerry's Kids,
The Cure,
Joe Smooth,
The Motions,
The Monochrome Set,
Gregory Isaacs,
Sun Ra Arkestra,
Nico,
Soft Cell,
John Foxx,
The Residents,
Electric Light Orchestra,
David Bowie,
Animal Collective,
U.S. Maple,
Bauhaus,
Q65,
Black Sheep,
Lafayette Afro Rock Band,
Arcadia,
Grandmaster Flash,
The Mojo Men,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.