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 Sierra Leone and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Paris 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Deakin to the disco 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 Kerri Chandler. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Dave Gahan,
Marmalade,
The Fire Engines,
Symarip,
The Doors,
Lou Christie,
Kool Moe Dee,
48th St. Collective,
Deadbeat,
Das Ding,
Vladislav Delay,
Michelle Simonal,
Nick Fraelich,
Gichy Dan,
New York Dolls,
Archie Shepp,
Erasure,
The Index,
Shoche,
The Wake,
Arab on Radar,
Brand Nubian,
Crispian St. Peters,
Kerri Chandler,
Gang Starr,
Peter and Kerry,
The Buckinghams,
Piero Umiliani,
Bobby Hutcherson,
The Fortunes,
Rod Modell,
The Smiths,
Silicon Teens,
Nas,
Masters at Work,
Pharaoh Sanders and the Fire Engines,
Nico,
Fear,
Reagan Youth,
Pere Ubu,
Jandek,
Joe Smooth,
The Martian,
Groovy Waters,
Alphaville,
Bob Dylan,
Quadrant,
Yellowson,
Kayak,
Kango’s Stein Massive,
Scott Walker,
The Evens,
Letta Mbulu,
Fatback Band,
Althea and Donna,
Gerry Rafferty,
John Holt,
The Fuzztones,
Shuggie Otis,
ABBA,
Icehouse,
The Cramps, The Cramps, The Cramps, The Cramps.
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.