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 Montenegro and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 The Birthday Party to the rap kids.
I played it at the Troubador.
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 Jerry Gold Smith. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Pylon,
Byron Stingily,
Lalann,
Bob Dylan,
The Moody Blues,
Swans,
Lightning Bolt,
Maurizio,
The Leaves,
Cameo,
Hot Snakes,
The Modern Lovers,
Sällskapet,
Aswad,
Andrew Ashong & Theo Parrish,
Oppenheimer Analysis,
Johnny Clarke,
Alphaville,
The Music Machine,
The Offenders,
Avey Tare,
Livin' Joy,
Moss Icon,
Vaughan Mason & Crew,
Pet Shop Boys,
Duran Duran,
Rhythm & Sound,
Mark Hollis,
Ice-T,
Davy DMX,
Sight & Sound,
Magazine,
The Martian,
Icehouse,
Barbara Tucker,
Sister Nancy,
Yellowson,
Glambeats Corp.,
Sun Ra,
Crispian St. Peters,
Harry Pussy,
Joey Negro,
Nas,
Marc Almond,
Avey Tare & Kría Brekkan,
Pharaoh Sanders and the Fire Engines,
Mandrill,
Tommy Roe,
Kaleidoscope,
Can,
The Young Rascals,
The J.B.'s,
Jeff Mills,
Isaac Hayes,
JFA,
Magma,
Essential Logic,
Justin Hinds & The Dominoes,
The Peanut Butter Conspiracy,
The Doobie Brothers,
Notorious BIG live in Amsterdam,
The United States of America,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.