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 Lebanon and from Cairo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school New York 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Grandmaster Flash to the rap 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 The Saints. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Procol Harum 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Swell Maps,
Red Lorry Yellow Lorry,
Visage,
James White and The Blacks,
kango's stein massive,
Kerri Chandler,
KRS-One,
Rekid,
Circle Jerks,
The Litter,
Stetsasonic,
Glambeats Corp.,
Joyce Sims,
Scion,
The Gun Club,
Rites of Spring,
Niagra,
Frankie Knuckles,
Lou Reed & Metallica,
Panda Bear,
Spandau Ballet,
Rotary Connection,
Barbara Tucker,
Gang Green,
The Toasters,
Tubeway Army,
Ossler,
Ken Boothe,
Warren Ellis,
Super Lover Cee & Casanova Rud,
Spoonie Gee,
the Bar-Kays,
Blossom Toes,
Wings,
Brothers Johnson,
Pantaleimon,
Mr. Review,
Brass Construction,
Bootsy's Rubber Band,
Peter & Gordon,
8 Eyed Spy,
Traffic Nightmare,
Derrick May,
Captain Beefheart & His Magic Band,
Vaughan Mason & Crew,
Aaron Thompson,
Arthur Verocai,
Ralphi Rosario,
Boogie Down Productions,
John Holt,
World's Most,
Easy Going,
Lebanon Hanover,
The Happenings,
Scratch Acid,
T.S.O.L.,
Notorious Big And Bone Thugs,
Bobby Womack,
Franke,
Slave,
Joe Smooth,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.