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 Djibouti and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Paris 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 clarinet 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 Yusef Lateef to the electroclash 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 Sisters of Mercy. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Hasil Adkins,
Skaos,
the Normal,
Red Lorry Yellow Lorry,
Drexciya,
Oppenheimer Analysis,
Kango’s Stein Massive,
Leonard Cohen,
Strawberry Alarm Clock,
Toni Rubio,
Bluetip,
Bad Manners,
Yellowson,
John Foxx,
Public Image Ltd.,
Swans,
Archie Shepp,
Tomorrow,
Man Eating Sloth,
The Blues Magoos,
Minnie Riperton,
Grey Daturas,
James Chance & The Contortions,
Ash Ra Tempel,
Fela Kuti,
Loose Ends,
Ohio Players,
Henry Cow,
Kool G Rap & DJ Polo,
Jesper Dahlback,
Crooked Eye,
Matthew Bourne,
Neu!,
LL Cool J,
Eric Copeland,
Cymande,
Country Teasers,
The J.B.'s,
Fad Gadget,
Sonny Sharrock,
The Doobie Brothers,
Vainqueur,
Deutsch Amerikanische Freundschaft,
Stockholm Monsters,
Half Japanese,
Crispy Ambulance,
Black Sheep,
Pet Shop Boys,
Lakeside,
Major Organ And The Adding Machine,
Maurizio,
Godley & Creme,
Brothers Johnson,
Sex Pistols,
The Standells,
Gil Scott Heron,
Todd Terry,
E-Dancer,
Susan Cadogan,
Carl Craig,
Cluster, Cluster, Cluster, Cluster.
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.