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 Nigeria and from Madrid.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Portland and Woodstock.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Flash Fearless to the grime 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 Nick Cave & The Bad Seeds. All the underground hits.
All JFA tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Joyce Sims,
Bauhaus,
Teenage Jesus and the Jerks,
Cymande,
Alphaville,
Animal Collective,
The Golliwogs,
Sun Ra,
Camberwell Now,
A Flock of Seagulls,
Sarah Menescal,
Louis and Bebe Barron,
Sun City Girls,
Bill Near,
The Buckinghams,
Mo-Dettes,
a-ha,
Masters at Work,
Harpers Bizarre,
Con Funk Shun,
Neu!,
Spoonie Gee,
Deadbeat,
Radiopuhelimet,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
Eric Copeland,
Thinking Fellers Union Local 282,
The Standells,
Underground Resistance,
Radio Birdman,
Orchestral Manoeuvres in the Dark,
Todd Rundgren,
Soft Machine,
Shoche,
Dave Gahan,
The Seeds,
The Grass Roots,
Barbara Tucker,
John Holt,
The Last Poets,
Harry Pussy,
Swell Maps,
Inner City,
Urselle,
David Bowie,
Black Moon,
Sound Behaviour,
Soft Cell,
Model 500,
Sandy B,
The Doors,
Curtis Mayfield,
Red Lorry Yellow Lorry,
Rites of Spring,
Wolf Eyes,
The Dirtbombs,
Drive Like Jehu,
Shuggie Otis,
Spandau Ballet,
Lizzy Mercier Descloux,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.