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 Ghana and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Toronto and Calgary.
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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Franke to the disco kids.
I played it at the Hacienda.
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 Kenny Larkin. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Warsaw,
Maleditus Sound,
Brick,
Harpers Bizarre,
The Fortunes,
The Real Kids,
Mad Mike,
Porter Ricks,
Eddi Front,
Marc Romboy vs. Booka Shade,
Television,
Henry Cow,
Arcadia,
The Happenings,
Laurel Aitken,
Hardrive,
Pere Ubu,
Dual Sessions,
A Flock of Seagulls,
Manfred Mann's Earth Band,
Wally Richardson,
Infiniti,
The Dead C,
The Divine Comedy,
Reagan Youth,
Junior Murvin,
Nation of Ulysses,
Terrestrial Tones,
Richard Hell and the Voidoids,
John Coltrane,
Model 500,
ABC,
Bill Wells,
Agent Orange,
The Human League,
Josef K,
Strawberry Alarm Clock,
LL Cool J,
Thinking Fellers Union Local 282,
Davy DMX,
Dead Boys,
D'Angelo,
Pole,
Warren Ellis,
The Leaves,
Bronski Beat,
Magma,
OOIOO,
The American Breed,
Bush Tetras,
The Associates,
Fat Boys,
Unrelated Segments,
Leonard Cohen,
CMW,
Country Teasers,
Neu!,
Lalann,
Technova,
The Index,
Echo & the Bunnymen,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.