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 Grenada and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Columbus 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 theremin 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 Leonard Cohen to the disco 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 Vaughan Mason & Crew. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Kurtis Blow,
Fugazi,
Audionom,
De La Soul & Jungle Brothers,
Talk Talk,
David Axelrod,
PIL,
Anthony Braxton,
Minny Pops,
DeepChord presents Echospace,
Grandmaster Flash and the Furious Five,
Pylon,
Avey Tare,
Main Source,
Rod Modell,
Gang Green,
Guru Guru,
Dorothy Ashby,
Albert Ayler,
The Sisters of Mercy,
Roger Hodgson,
Orchestral Manoeuvres in the Dark,
Bill Near,
The Neon Judgement,
Peter & Gordon,
Hot Snakes,
the Germs,
New Order,
The Names,
Average White Band,
Zero Boys,
Steve Hackett,
James Chance & The Contortions,
Lafayette Afro Rock Band,
The J.B.'s,
Boogie Down Productions,
The Fire Engines,
Symarip,
Intrusion,
Warren Ellis,
Marshall Jefferson,
The Electric Prunes,
Deakin,
Fear,
The Beau Brummels,
Ken Boothe,
The Vogues,
Jacob Miller,
Sällskapet,
Motorama,
Ice-T,
Terrestrial Tones,
Public Enemy,
Black Moon,
The Mummies,
Sexual Harrassment,
The Barracudas,
Amazonics,
Chris Corsano,
Marcia Griffiths,
The Doobie Brothers,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.