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 Paraguay and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Tehran 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 marimba 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 Rites of Spring to the crunk kids.
I played it at Cafe Wha.
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 Dead C. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Aaron Thompson,
Sonic Youth,
Essential Logic,
Talk Talk,
Nils Olav,
Dead Boys,
Aural Exciters,
Barbara Tucker,
Fort Wilson Riot,
The J.B.'s,
Gong,
Grandmaster Flash,
Fifty Foot Hose,
Delon & Dalcan,
Shoche,
Gang Green,
Gary Puckett & The Union Gap,
Drexciya,
Barrington Levy,
UT,
Agent Orange,
Arthur Verocai,
Soft Cell,
Quando Quango,
In Retrospect,
The Real Kids,
Peter and Kerry,
The Neon Judgement,
Rotary Connection,
The Sound,
The Zeros,
Circle Jerks,
Gil Scott-Heron & Brian Jackson,
Supertramp,
Rakim,
Camberwell Now,
Fugazi,
Glambeats Corp.,
Jeff Mills,
Gabor Szabo,
Funkadelic,
Vladislav Delay,
Agitation Free,
Maurizio,
Curtis Mayfield,
The Cramps,
Bronski Beat,
Bauhaus,
Depeche Mode,
Ludus,
Yusef Lateef,
Japan,
The Divine Comedy,
Hasil Adkins,
Orchestral Manoeuvres in the Dark,
The American Breed,
Marshall Jefferson,
Whodini, Whodini, Whodini, Whodini.
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.