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 Swaziland and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Al Stewart to the funk 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 Vaughan Mason & Crew. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
The Moleskins,
Al Stewart,
Barry Ungar,
Mary Jane Girls,
The Mighty Diamonds,
Bootsy Collins,
Aural Exciters,
Rosa Yemen,
the Germs,
Alison Limerick,
John Holt,
Fort Wilson Riot,
Easy Going,
Niagra,
Thinking Fellers Union Local 282,
Barclay James Harvest,
The Red Krayola,
KRS-One,
X-Ray Spex,
Angry Samoans,
Whodini,
Hardrive,
Echo & the Bunnymen,
Dorothy Ashby,
CMW,
Index,
Camouflage,
The Black Dice,
10cc,
Sunsets and Hearts,
Fugazi,
Smog,
Thompson Twins,
Nation of Ulysses,
OOIOO,
Jerry's Kids,
The West Coast Pop Art Experimental Band,
Hoover,
Shoche,
Rakim,
Ultimate Spinach,
Ash Ra Tempel,
Bobby Byrd,
Radiopuhelimet,
Aswad,
Alice Coltrane,
Kerri Chandler,
Gang Starr,
Nas,
Wally Richardson,
Joy Division,
The Happenings,
Electric Light Orchestra,
The Smiths,
Sixth Finger,
Interpol,
Half Japanese,
Justin Hinds & The Dominoes,
Marc Romboy vs. Booka Shade,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.