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 Trinidad & Tobago and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Bologna 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Section 25 to the rock 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 Swans. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Harpers Bizarre,
Pantaleimon,
Vladislav Delay,
Heavy D & The Boyz,
The Gladiators,
D'Angelo,
Soft Machine,
Das Ding,
Magma,
Popol Vuh,
LL Cool J,
Ornette Coleman,
Notorious Big And Bone Thugs,
Faraquet,
the Association,
Agitation Free,
Ultramagnetic MC's,
Joensuu 1685,
The Fall,
Yusef Lateef,
The Standells,
Zapp,
Ralphi Rosario,
Johnny Osbourne,
Underground Resistance,
Brick,
Procol Harum,
Scrapy,
The Flesh Eaters,
R.M.O.,
Vaughan Mason & Crew,
Funky Four + One,
Jacques Brel,
Fugazi,
Sandy B,
The Mojo Men,
Scratch Acid,
Depeche Mode,
Ronnie Foster,
the Soft Cell,
Ultimate Spinach,
Black Pus,
Au Pairs,
Soul II Soul,
Swans,
Cal Tjader,
Strawberry Alarm Clock,
Lungfish,
The Victims,
Saccharine Trust,
The Music Machine,
La Düsseldorf,
Japan,
Absolute Body Control,
Subhumans,
Carl Craig,
The J.B.'s,
The Dirtbombs,
Hasil Adkins,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.