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 Portugal and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Tehran and Stockholm.
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 guitar 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 The Moleskins to the disco 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 The Wake. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Ten City,
David Axelrod,
Notorious Big And Bone Thugs,
D'Angelo,
Icehouse,
Al Stewart,
Lou Reed,
The Cure,
Hashim,
Bang on a Can All-Stars,
Sixth Finger,
Sticky Fingaz feat. Raekwon,
The Gun Club,
Masters at Work,
It's A Beautiful Day,
Roy Ayers,
Maleditus Sound,
Brass Construction,
The Grass Roots,
X-102,
a-ha,
Television,
Mandrill,
Sonic Youth,
Justin Hinds & The Dominoes,
Avey Tare & Kría Brekkan,
Organ,
Liaisons Dangereuses,
The Music Machine,
James Chance & The Contortions,
Black Bananas,
Leonard Cohen,
Subhumans,
The Zeros,
Scientists,
Underground Resistance,
Magma,
Porter Ricks,
Talk Talk,
Young Marble Giants,
Toni Rubio,
Gian Franco Pienzio,
LL Cool J,
Gang Green,
Quantec,
Eyeless In Gaza,
The Modern Lovers,
Joy Division,
Richard Hell and the Voidoids,
Minnie Riperton,
Jimmy McGriff,
Ornette Coleman,
Amazonics,
Hasil Adkins,
The Blackbyrds,
U.S. Maple,
Delon & Dalcan,
Visage,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.