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 Italy and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1979.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Golliwogs to the jazz 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 Interpol. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Brothers Johnson,
The Young Rascals,
Eurythmics,
Crash Course in Science,
Robert Hood,
Gian Franco Pienzio,
Pere Ubu,
Piero Umiliani,
Nick Fraelich,
Underground Resistance,
Circle Jerks,
The Golliwogs,
The Martian,
Isaac Hayes,
Public Enemy,
Hasil Adkins,
Audionom,
Selector Dub Narcotic,
Spandau Ballet,
Crime,
Aural Exciters,
Joe Finger,
Minutemen,
Unwound,
The Detroit Cobras,
A Flock of Seagulls,
Sonic Youth,
Country Joe & The Fish,
The Gap Band,
Nico,
R.M.O.,
Goldenarms,
Television,
Motorama,
The Searchers,
Larry & the Blue Notes,
AZ,
Delon & Dalcan,
Ossler,
Ice-T,
Fluxion,
The Misunderstood,
Gang of Four,
Moebius,
Sly & The Family Stone,
Aloha Tigers,
Japan,
It's A Beautiful Day,
Eric B and Rakim,
Kurtis Blow,
The Velvet Underground,
Young Marble Giants,
The Mojo Men,
Gang Starr,
Model 500,
Stiv Bators,
World's Most,
The Dead C,
Fatback Band,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.