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 Morocco and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 Milan and London.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Arcadia to the jazz 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 The Stooges. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Yaz,
Todd Rundgren,
D'Angelo,
Rod Modell,
The Knickerbockers,
Peter and Kerry,
Anakelly,
Jacques Brel,
Max Romeo,
Camberwell Now,
Pharaoh Sanders and the Fire Engines,
Wire,
Neil Young,
The Velvet Underground,
The United States of America,
Negative Approach,
Spandau Ballet,
Grauzone,
Spoonie Gee,
OOIOO,
Godley & Creme,
Marvin Gaye,
Nils Olav,
Andrew Ashong & Theo Parrish,
Oneida,
Jerry Gold Smith,
Sixth Finger,
Bill Wells,
Gregory Isaacs,
The Cramps,
Moby Grape,
Erykah Badu,
MC5,
The Saints,
The Black Dice,
June of 44,
Johnny Osbourne,
Bobby Womack,
Kevin Saunderson,
Eve St. Jones,
Boz Scaggs,
Pet Shop Boys,
Icehouse,
Half Japanese,
The Monks,
Lebanon Hanover,
Jimmy McGriff,
Deutsch Amerikanische Freundschaft,
Procol Harum,
Terror Squad Feat. Camron,
James Chance & The Contortions,
Matthew Halsall,
Alice Coltrane,
Marc Almond,
The Gun Club,
Sister Nancy,
Mandrill,
The Sound,
Delon & Dalcan,
Teenage Jesus and the Jerks,
Pulsallama,
The Fugs,
Roxette, Roxette, Roxette, Roxette.
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.