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 Honduras and from Spokane.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 Mantronix to the electroclash kids.
I played it at Trash.
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 Au Pairs. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Roxy Music,
Clear Light,
Bizarre Inc.,
Dawn Penn,
Idris Muhammad,
Inner City,
Archie Shepp,
Crispian St. Peters,
Masters at Work,
Television,
Joy Division,
Drexciya,
The Electric Prunes,
Barbara Tucker,
Pantytec,
Audionom,
DNA,
The Jesus and Mary Chain,
Erasure,
Cabaret Voltaire,
the Human League,
CMW,
The Durutti Column,
Rod Modell,
Cymande,
Marmalade,
Roy Ayers Ubiquity,
The Seeds,
New Order,
Matthew Bourne,
Larry & the Blue Notes,
The Mighty Diamonds,
Bang on a Can All-Stars,
Circle Jerks,
Derrick Morgan,
Aloha Tigers,
Nas,
Jacques Brel,
Patti Smith,
The Monks,
Model 500,
The Human League,
Bootsy's Rubber Band,
Altered Images,
The Wake,
Eddi Front,
Jesper Dahlback,
Ludus,
The Birthday Party,
Marine Girls,
Marshall Jefferson,
Aswad,
Urselle,
Wire,
Captain Beefheart & His Magic Band,
Neu!,
Skarface,
Bluetip,
Outsiders,
Malaria!,
Main Source,
The Move, The Move, The Move, The Move.
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.