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 Seychelles and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Ice-T to the dance 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 Kurtis Blow. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every X-102 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 '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Kaleidoscope,
A Certain Ratio,
Morten Harket,
Joe Finger,
Saccharine Trust,
The Standells,
PIL,
Negative Approach,
Gregory Isaacs,
Cabaret Voltaire,
Roxy Music,
Johnny Clarke,
The Dead C,
The Flesh Eaters,
The Fuzztones,
Unwound,
Lou Christie,
Scientists,
Roxette,
The Velvet Underground,
Sister Nancy,
Larry & the Blue Notes,
Bob Dylan,
Harmonia,
Kerrie Biddell,
Circle Jerks,
Lee Hazlewood,
Rufus Thomas,
Derrick May,
Tom Boy,
Eric Copeland,
AZ,
The American Breed,
The West Coast Pop Art Experimental Band,
Franke,
Dennis Brown,
Faraquet,
Zero Boys,
Justin Hinds & The Dominoes,
Von Mondo,
Funky Four + One,
Hoover,
Lungfish,
Joey Negro,
The Slits,
D'Angelo,
Avey Tare's Slasher Flicks,
Scott Walker,
Alton Ellis,
Livin' Joy,
The Moody Blues,
the Germs,
Joyce Sims,
Lalann,
Bill Near,
The Birthday Party,
Ultramagnetic MC's,
Ohio Players,
Richard Hell and the Voidoids,
Wally Richardson,
Arcadia,
Matthew Bourne,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.