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 Ecuador and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Bologna 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 chamberlin 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 Slave to the crunk kids.
I played it at CBGB's.
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 Johnny Clarke. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Groovy Waters,
This Heat,
The Doors,
Little Man,
The Blackbyrds,
Ultramagnetic MC's,
Idris Muhammad,
Ponytail,
Chris & Cosey,
Loose Ends,
Von Mondo,
Whodini,
Jeff Mills,
Flamin' Groovies,
A Certain Ratio,
Man Parrish,
Oneida,
Joey Negro,
Masters at Work,
Parry Music,
The Star Department,
Thompson Twins,
Public Image Ltd.,
Magma,
Joe Finger,
Ornette Coleman,
Curtis Mayfield,
Blake Baxter,
Juan Atkins,
Anakelly,
Dawn Penn,
The Human League,
Lou Christie,
Joe Smooth,
The Count Five,
Röyhkä ja Rättö ja Lehtisalo,
Kurtis Blow,
Bush Tetras,
One Last Wish,
the Soft Cell,
Saccharine Trust,
Jesper Dahlbäck,
The Move,
Aaron Thompson,
Peter & Gordon,
Josef K,
Scan 7,
Clear Light,
DNA,
Lalo Schifrin,
Skaos,
X-101,
The Dave Clark Five,
Procol Harum,
Terrestrial Tones,
Blancmange,
The Busters,
Fear,
The Selecter,
Alice Coltrane,
Con Funk Shun,
The Cramps,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.