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 Ethiopia and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Edmonton 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Sight & Sound to the grunge kids.
I played it at the Astoria.
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 John Lydon. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Goldenarms 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 '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
The Electric Prunes,
Wire,
Desert Stars,
Eric Copeland,
AZ,
The Sisters of Mercy,
Mandrill,
Kurtis Blow,
Jerry's Kids,
DNA,
Zero Boys,
Todd Terry,
Bobby Womack,
Kerri Chandler,
Masters at Work,
Sexual Harrassment,
The Count Five,
Gian Franco Pienzio,
Drexciya,
Fluxion,
Donald Byrd,
The Fall,
Jawbox,
Bobby Byrd,
Erasure,
Reagan Youth,
Deadbeat,
Wasted Youth,
Scott Walker,
Mars,
Arthur Verocai,
The Index,
Joensuu 1685,
New Age Steppers,
The Searchers,
Depeche Mode,
Yusef Lateef,
Ultramagnetic MC's,
Red Lorry Yellow Lorry,
Babytalk,
Bush Tetras,
The Buckinghams,
MDC,
Grandmaster Flash,
Interpol,
Harmonia,
The Associates,
Anakelly,
Stetsasonic,
Ash Ra Tempel,
Scrapy,
the Fania All-Stars,
Electric Light Orchestra,
Wings,
Roxette,
Kauko Röyhkä ja Narttu,
Essential Logic,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Terrestrial Tones,
The Fortunes,
David Bowie,
Oneida,
Fort Wilson Riot,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.