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 Czech Republic and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Lagos and Jakarta.
I'm losing my edge to the art-school Manila 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 808 sounds with much patience.
I was there when Donald Fagen 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 Icehouse to the electroclash 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 Oppenheimer Analysis. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Mo-Dettes,
Pole,
The Toasters,
Ludus,
Surgeon,
Glenn Branca,
The Smoke,
Marc Almond,
Dorothy Ashby,
Chris & Cosey,
Fifty Foot Hose,
Ornette Coleman,
EPMD,
It's A Beautiful Day,
Jesper Dahlbäck,
Erasure,
The Young Rascals,
Neil Young,
Eli Mardock,
Bang on a Can All-Stars,
Gil Scott Heron,
Hasil Adkins,
Lou Reed & Metallica,
Lucky Dragons,
The Raincoats,
Symarip,
Organ,
Stockholm Monsters,
Godley & Creme,
Man Parrish,
Nico,
Crispy Ambulance,
Connie Case,
Be Bop Deluxe,
Gary Puckett & The Union Gap,
Black Flag,
Agent Orange,
X-Ray Spex,
Rotary Connection,
Dave Gahan,
Red Lorry Yellow Lorry,
Roy Ayers,
Echospace,
Stiv Bators,
The Cure,
Shoche,
The Slackers,
Cal Tjader,
Porter Ricks,
Jacques Brel,
Soft Cell,
Kool G Rap & DJ Polo,
Average White Band,
Judy Mowatt,
The Names,
Lebanon Hanover,
Cabaret Voltaire,
Alice Coltrane,
Boogie Down Productions,
Half Japanese,
The Count Five,
Sugar Minott,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.