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 Lebanon and from Shanghai.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Beijing 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar 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 Severed Heads to the rap kids.
I played it at the Roxy.
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 Stockholm Monsters. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Zapp,
X-101,
Scrapy,
Grey Daturas,
Massinfluence,
The Real Kids,
Ludus,
Monolake,
The Detroit Cobras,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gang of Four,
The Gun Club,
Saccharine Trust,
Reagan Youth,
Kings Of Tomorrow,
Barbara Tucker,
the Soft Cell,
Harmonia,
Public Enemy,
Nico,
Matthew Bourne,
The Names,
The Busters,
Alton Ellis,
Amazonics,
Laurel Aitken,
Ice-T,
Traffic Nightmare,
Pierre Henry,
Wire,
The Fall,
Tom Boy,
Aaron Thompson,
Hashim,
The Angels of Light,
Liaisons Dangereuses,
The Slackers,
John Foxx,
Neil Young & Crazy Horse,
Notorious Big And Bone Thugs,
Stetsasonic,
Depeche Mode,
the Human League,
Fat Boys,
Curtis Mayfield,
The American Breed,
Blossom Toes,
Angry Samoans,
The Index,
The Human League,
Alice Coltrane,
Terror Squad Feat. Camron,
Kool G Rap & DJ Polo,
Spandau Ballet,
The J.B.'s,
The Seeds,
Richard Hell and the Voidoids,
Donny Hathaway,
Rekid,
Ultramagnetic MC's,
Oneida,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.