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 Sri Lanka and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 arpeggiator 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 Wally Richardson to the punk kids.
I played it at the Roxy.
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 Monks. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Junior Murvin 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Von Mondo,
The Alarm Clocks,
Sexual Harrassment,
Larry & the Blue Notes,
Model 500,
Skarface,
Rites of Spring,
Rahsaan Roland Kirk,
Crispian St. Peters,
Eve St. Jones,
The Durutti Column,
Ohio Players,
Hardrive,
The Human League,
Iggy Pop,
Parry Music,
Vladislav Delay,
Susan Cadogan,
The Walker Brothers,
The Velvet Underground,
The Young Rascals,
Banda Bassotti,
The Index,
Echo & the Bunnymen,
Severed Heads,
La Düsseldorf,
The Cure,
The West Coast Pop Art Experimental Band,
Marshall Jefferson,
Scion,
Supertramp,
Lindisfarne,
Rotary Connection,
Gil Scott-Heron and Jamie xx,
Icehouse,
The Chocolate Watch Band,
The Gories,
Neu!,
Lou Reed & John Cale,
Crispy Ambulance,
Nick Cave & The Bad Seeds,
Justin Hinds & The Dominoes,
The Misunderstood,
L. Decosne,
Aloha Tigers,
Depeche Mode,
Buzzcocks,
Jerry Gold Smith,
Rosa Yemen,
Thee Headcoats,
The New Christs,
Organ,
Heaven 17,
Ronnie Foster,
Cecil Taylor,
Joensuu 1685,
David Bowie,
Ultimate Spinach,
Average White Band,
D'Angelo,
K-Klass,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.