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 Georgia and from Lagos.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school London 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Unrelated Segments to the rap kids.
I played it at the Troubador.
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 Jacob Miller. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Notorious Big And Bone Thugs,
Joey Negro,
Soft Cell,
Bauhaus,
The Durutti Column,
Stockholm Monsters,
Motorama,
Grandmaster Flash and the Furious Five,
Shoche,
Schoolly D,
Section 25,
Avey Tare's Slasher Flicks,
Crooked Eye,
Pierre Henry,
Subhumans,
Ken Boothe,
Con Funk Shun,
Depeche Mode,
Main Source,
Fad Gadget,
The Zeros,
Delta 5,
Laurel Aitken,
Deakin,
Bizarre Inc.,
Flamin' Groovies,
Bootsy Collins,
Sex Pistols,
Warren Ellis,
Ice-T,
Echo & the Bunnymen,
U.S. Maple,
Camron Feat. Memphis Bleek And Beenie Seigel,
Todd Rundgren,
Ultravox,
Louis and Bebe Barron,
Angels of Light & Akron/Family,
Dennis Brown,
This Heat,
Dark Day,
Loose Ends,
T.S.O.L.,
Boz Scaggs,
Alison Limerick,
The Sound,
Siglo XX,
Quando Quango,
Ponytail,
Audionom,
Easy Going,
Ornette Coleman,
Lalo Schifrin,
Vladislav Delay,
Bobbi Humphrey,
Angry Samoans,
Kevin Saunderson,
Howard Jones,
Larry & the Blue Notes,
Bill Wells,
The Leaves,
Moby Grape,
Outsiders, Outsiders, Outsiders, Outsiders.
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.