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 Panama and from Lille.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lyon and Columbus.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the organ 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 U.S. Maple to the grunge 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Black Sheep,
Soft Machine,
Pete Rock & C.L. Smooth,
The Slackers,
Gabor Szabo,
Arcadia,
Outsiders,
Gang Starr,
Heavy D & The Boyz,
Skarface,
Joe Finger,
the Fania All-Stars,
Boz Scaggs,
The Tremeloes,
The Sonics,
Sugar Minott,
Suicide,
Yaz,
June Days,
Dave Gahan,
Alice Coltrane,
T. Rex,
Von Mondo,
Brand Nubian,
Anthony Braxton,
The Happenings,
Rod Modell,
Hardrive,
The Buckinghams,
Marcia Griffiths,
The Busters,
Reuben Wilson,
Nas,
CMW,
Kenny Larkin,
Camron Feat. Memphis Bleek And Beenie Seigel,
Beasts of Bourbon,
Magazine,
The Doobie Brothers,
Royal Trux,
Massinfluence,
Don Cherry,
Urselle,
Sarah Menescal,
Alphaville,
The Golliwogs,
Drive Like Jehu,
Notorious Big And Bone Thugs,
Dark Day,
Mr. Review,
Neu!,
Scrapy,
The Standells,
Lungfish,
Donald Byrd,
X-Ray Spex,
Piero Umiliani,
Kas Product,
Sun City Girls,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.