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 Ghana and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Lyon and Manchester.
I'm losing my edge to the art-school Tokyo 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Jerry Gold Smith to the electroclash kids.
I played it at the 40 Watt.
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 kango's stein massive. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Doobie Brothers,
Blake Baxter,
Scientists,
Smog,
Eyeless In Gaza,
Deakin,
Cymande,
the Slits,
The Move,
Rekid,
Moby Grape,
Urselle,
Pantytec,
Heaven 17,
Notorious Big And Bone Thugs,
The Real Kids,
Todd Rundgren,
Moebius,
The Vogues,
Pulsallama,
Hot Snakes,
Scion,
Howard Jones,
Dennis Brown,
Shuggie Otis,
Kango’s Stein Massive,
Kaleidoscope,
Minny Pops,
Basic Channel,
Main Source,
Eurythmics,
Dave Gahan,
F. McDonald,
Peter and Kerry,
Man Eating Sloth,
Fad Gadget,
Junior Murvin,
James Chance & The Contortions,
Country Teasers,
Pete Rock & C.L. Smooth,
Oppenheimer Analysis,
Bob Dylan,
Jeru the Damaja,
Terror Squad Feat. Camron,
DJ Sneak,
Model 500,
Michelle Simonal,
The Monochrome Set,
T.S.O.L.,
Alison Limerick,
Skaos,
Symarip,
Mars,
Tommy Roe,
Joyce Sims,
Saccharine Trust,
The Smiths,
JFA,
Sad Lovers and Giants,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.