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 South Sudan and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1972.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Houston 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 linndrum 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 James White and The Blacks to the disco 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 Los Fastidios. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Nils Olav 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Bootsy's Rubber Band,
Judy Mowatt,
James White and The Blacks,
Silicon Teens,
The Sisters of Mercy,
Mars,
Ultimate Spinach,
The Smoke,
The Evens,
The Offenders,
Y Pants,
Ituana,
Albert Ayler,
Gang Green,
Peter Gordon & Love of Life Orchestra,
Avey Tare's Slasher Flicks,
Public Enemy,
Ken Boothe,
Gil Scott-Heron & Brian Jackson,
Scratch Acid,
Ronnie Foster,
Fad Gadget,
Ultramagnetic MC's,
Yazoo,
Black Moon,
Kerrie Biddell,
Deakin,
Derrick May,
Aswad,
The Beau Brummels,
Funky Four + One,
Chris Corsano,
Soft Machine,
Underground Resistance,
Aural Exciters,
Brick,
Sparks,
Thinking Fellers Union Local 282,
Sarah Menescal,
The Detroit Cobras,
Oppenheimer Analysis,
Camron Feat. Jay Z And Juelz,
Morten Harket,
Slave,
Neil Young & Crazy Horse,
Jesper Dahlbäck,
Bizarre Inc.,
Camron Feat. Memphis Bleek And Beenie Seigel,
Warsaw,
Dawn Penn,
the Soft Cell,
John Coltrane,
Nico,
Absolute Body Control,
Soul II Soul,
Bill Wells,
Barclay James Harvest,
Porter Ricks,
Lou Christie,
Minny Pops,
Rapeman,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.