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 Kazakhstan and from Houston.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Accra 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 chamberlin 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 The Golliwogs to the electroclash kids.
I played it at the Hacienda.
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 Electric Prunes. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Tomorrow,
Johnny Osbourne,
Ohio Players,
The Blues Magoos,
Roxette,
Anthony Braxton,
Stockholm Monsters,
Bill Near,
Soul II Soul,
Angels of Light & Akron/Family,
Rhythm & Sound,
The Flesh Eaters,
The Associates,
Audionom,
Grey Daturas,
Cymande,
Lalann,
Scratch Acid,
Rapeman,
Kas Product,
Liaisons Dangereuses,
Quadrant,
Cluster,
Chris Corsano,
Organ,
Bootsy Collins,
Supertramp,
Curtis Mayfield,
The Cowsills,
Dr. Dre and Snoop Doggy Dog,
Can,
The Doobie Brothers,
Roy Ayers,
Lindisfarne,
Larry & the Blue Notes,
Severed Heads,
Minnie Riperton,
Das Ding,
Rowland S Howard / Lydia Lunch,
Arthur Verocai,
Oppenheimer Analysis,
The Neon Judgement,
Intrusion,
The Names,
10cc,
Freddie Wadling,
The Sonics,
Japan,
Minor Threat,
Kaleidoscope,
Jawbox,
Technova,
The Fortunes,
Letta Mbulu,
The Doors,
Swell Maps,
Lucky Dragons,
World's Most,
Theoretical Girls,
Deakin, Deakin, Deakin, Deakin.
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.