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 Norway and from Lille.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
I'm losing my edge to the art-school Seoul 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes 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 The Mojo Men to the rock 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 The Barracudas. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Frankie Knuckles,
Gil Scott-Heron & Brian Jackson,
Sun City Girls,
Cecil Taylor,
Yusef Lateef,
The Names,
Archie Shepp,
Negative Approach,
the Swans,
Brass Construction,
Sad Lovers and Giants,
the Soft Cell,
Funky Four + One,
Sister Nancy,
Spandau Ballet,
FM Einheit,
Rod Modell,
The Blues Magoos,
Charles Mingus,
Los Fastidios,
Avey Tare's Slasher Flicks,
Oppenheimer Analysis,
John Cale,
The Neon Judgement,
Magazine,
The Pop Group,
Moebius,
Blossom Toes,
Sound Behaviour,
Scott Walker + Sunn O))),
De La Soul & Jungle Brothers,
Lee Hazlewood,
The Move,
The Residents,
Symarip,
Pharaoh Sanders and the Fire Engines,
Chris Corsano,
Black Moon,
Lizzy Mercier Descloux,
New York Dolls,
Basic Channel,
Kurtis Blow,
The Jesus and Mary Chain,
Pere Ubu,
Reuben Wilson,
Pulsallama,
John Coltrane,
Niagra,
Reagan Youth,
Siouxsie and the Banshees,
Monks,
Mr. Review,
Minny Pops,
Erykah Badu,
The Music Machine,
Derrick Morgan,
Agent Orange,
Todd Terry,
The Cosmic Jokers,
Delta 5,
Pole,
Bauhaus,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.