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 Solomon Islands and from Edmonton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Spokane 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 guitar sounds with much patience.
I was there when Lou Reed 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 J.B.'s to the rap 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 New Christs. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Seeds 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Desert Stars,
Howard Jones,
Girls At Our Best!,
Echospace,
Lou Reed & Metallica,
Amon Düül II,
Eve St. Jones,
Parry Music,
The Slits,
Steve Hackett,
Brass Construction,
The Cowsills,
Agitation Free,
The Gun Club,
Television Personalities,
Alison Limerick,
Soul Sonic Force,
Pierre Henry,
Judy Mowatt,
Maurizio,
Y Pants,
Avey Tare,
Warsaw,
Marc Almond,
Pulsallama,
Dark Day,
The Selecter,
Justin Hinds & The Dominoes,
H. Thieme,
Lalann,
Louis and Bebe Barron,
De La Soul & Jungle Brothers,
Radio Birdman,
Ten City,
Popol Vuh,
Suburban Knight,
Liliput,
Patti Smith,
Maleditus Sound,
One Last Wish,
Jimmy McGriff,
Roger Hodgson,
X-Ray Spex,
Sixth Finger,
The Blues Magoos,
Infiniti,
Eric Copeland,
Basic Channel,
Ohio Players,
Newcleus,
Marc Romboy vs. Booka Shade,
Alice Coltrane,
Siouxsie and the Banshees,
Johnny Osbourne,
The Vogues,
Crooked Eye,
Selector Dub Narcotic,
The Slackers,
Negative Approach,
Soft Machine,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.