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 Lebanon and from Mexico City.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 sitar 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 Arcadia to the punk 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 The Dirtbombs. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Prince Buster,
Sparks,
Liaisons Dangereuses,
Joy Division,
Mad Mike,
Neil Young,
Max Romeo,
Crooked Eye,
Vladislav Delay,
Ice-T,
The Real Kids,
The United States of America,
Dennis Brown,
Terrestrial Tones,
the Fania All-Stars,
Radiohead,
ABC,
Tubeway Army,
Pharoah Sanders,
Crash Course in Science,
Kool G Rap & DJ Polo,
Selector Dub Narcotic,
The Monochrome Set,
The Cowsills,
Livin' Joy,
Sun City Girls,
London Community Gospel Choir,
Harpers Bizarre,
Jerry's Kids,
K-Klass,
Slave,
Oneida,
Can,
Maurizio,
Bauhaus,
Louis and Bebe Barron,
The Cure,
Mr. Review,
Kauko Röyhkä ja Narttu,
The Music Machine,
Gong,
Lyres,
Suicide,
Easy Going,
The Gun Club,
The Sisters of Mercy,
Main Source,
D'Angelo,
Alton Ellis,
Nick Fraelich,
Echospace,
Marine Girls,
Lee Hazlewood,
Ludus,
Darondo,
Kings Of Tomorrow,
Flash Fearless,
Sun Ra,
Jesper Dahlback,
Talk Talk,
X-102, X-102, X-102, X-102.
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.