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 Guyana and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Taipei and Toronto.
I'm losing my edge to the art-school Mexico City 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 theremin 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 Heavy D & The Boyz to the jazz kids.
I played it at the Crocodile.
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 Sister Nancy. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
The Searchers,
Kurtis Blow,
The Tremeloes,
Joe Smooth,
The Golliwogs,
The Fall,
Eyeless In Gaza,
UT,
Stereo Dub,
The Shadows of Knight,
Nirvana,
Ajijia Myrayebe,
Sun City Girls,
Interpol,
Subhumans,
Negative Approach,
Gary Puckett & The Union Gap,
Cabaret Voltaire,
Severed Heads,
the Association,
Gabor Szabo,
Malaria!,
The Black Dice,
Urselle,
Alison Limerick,
Jeru the Damaja,
Robert Görl,
Underground Resistance,
Clear Light,
Das Ding,
Blossom Toes,
Strawberry Alarm Clock,
Stiv Bators,
Fear,
Cybotron,
Kevin Saunderson,
Ken Boothe,
B.T. Express,
the Bar-Kays,
The Trojans,
Donny Hathaway,
Lou Christie,
Crooked Eye,
Judy Mowatt,
Faraquet,
Dead Boys,
Jawbox,
Bill Near,
Archie Shepp,
Anakelly,
Unrelated Segments,
Larry & the Blue Notes,
Gerry Rafferty,
Mark Hollis,
Yellowson,
The Standells,
D'Angelo,
Arthur Verocai,
The Cowsills,
The Slits,
Absolute Body Control,
Kayak,
John Holt, John Holt, John Holt, John Holt.
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.