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 Bahamas and from Cairo.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar 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 Nation of Ulysses to the crunk kids.
I played it at CBGB's.
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 Fear. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Section 25 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Human League,
Magma,
Lalann,
Soulsonic Force,
Crime,
James Chance & The Contortions,
Arthur Verocai,
KRS-One,
The Mojo Men,
Newcleus,
Lyres,
Livin' Joy,
FM Einheit,
Freddie Wadling,
Ossler,
Mary Jane Girls,
The Zeros,
Con Funk Shun,
Tropical Tobacco,
Dorothy Ashby,
the Soft Cell,
EPMD,
DJ Style,
Minnie Riperton,
ABBA,
Kayak,
Panda Bear,
The Busters,
The Barracudas,
The Gun Club,
Cal Tjader,
Lebanon Hanover,
The Martian,
Jesper Dahlbäck,
Archie Shepp,
Dawn Penn,
Lou Reed & John Cale,
The Gories,
Joyce Sims,
Thinking Fellers Union Local 282,
X-101,
Lalo Schifrin,
The Doors,
Kurtis Blow,
Lou Reed,
Stetsasonic,
Bill Wells,
Procol Harum,
ABC,
Girls At Our Best!,
Heaven 17,
Glenn Branca,
The New Christs,
Lafayette Afro Rock Band,
Ponytail,
Tubeway Army,
The Sisters of Mercy,
Sister Nancy,
Howard Jones,
Kool G Rap & DJ Polo,
Jeff Lynne,
Teenage Jesus and the Jerks,
Ultra Naté,
Brothers Johnson,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.