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 Honduras and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1972.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Glasgow 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 güiro sounds with much patience.
I was there when Lou Reed 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 Lou Reed & John Cale to the disco kids.
I played it at CBGB's.
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 Royal Trux. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Quando Quango,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Ultravox,
Aswad,
Camouflage,
Electric Light Orchestra,
Pagans,
Eden Ahbez,
The West Coast Pop Art Experimental Band,
Banda Bassotti,
Visage,
Lee Hazlewood,
The Angels of Light,
Whodini,
Infiniti,
Warren Ellis,
Grandmaster Flash and the Furious Five,
Siglo XX,
Gil Scott-Heron & Brian Jackson,
Animal Collective,
Max Romeo,
The Litter,
the Fania All-Stars,
Byron Stingily,
EPMD,
The Black Dice,
One Last Wish,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
the Soft Cell,
Magma,
Minny Pops,
Icehouse,
Eric B and Rakim,
Rosa Yemen,
Surgeon,
Notorious BIG live in Amsterdam,
Outsiders,
Mantronix,
Camberwell Now,
Super Lover Cee & Casanova Rud,
Blake Baxter,
Dorothy Ashby,
The Cowsills,
Wolf Eyes,
Duran Duran,
Television Personalities,
Lyres,
FM Einheit,
Fad Gadget,
The Blues Magoos,
Harry Pussy,
Kango’s Stein Massive,
The Men They Couldn't Hang,
Scrapy,
Lebanon Hanover,
Scion,
Aaron Thompson,
Junior Murvin,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.