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 Argentina and from Bologna.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Taipei 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Bob Dylan to the crunk kids.
I played it at Cafe Wha.
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 Massinfluence. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Tropical Tobacco,
Qualms,
Scrapy,
Lee Hazlewood,
Black Sheep,
Kerrie Biddell,
Scan 7,
Mark Hollis,
Crime,
Byron Stingily,
Marc Almond,
The Skatalites,
Ajijia Myrayebe,
Swell Maps,
Sight & Sound,
Mantronix,
Sun Ra Arkestra,
Brand Nubian,
Fort Wilson Riot,
Silicon Teens,
Babytalk,
Rhythm & Sound,
Wings,
Unwound,
Rakim,
Oppenheimer Analysis,
The Smiths,
Crispian St. Peters,
Avey Tare & Kría Brekkan,
Ultra Naté,
The Music Machine,
The Shadows of Knight,
Deutsch Amerikanische Freundschaft,
Goldenarms,
Bluetip,
Warsaw,
Negative Approach,
Soft Cell,
Stetsasonic,
Godley & Creme,
Parry Music,
Simply Red,
Soul II Soul,
Dual Sessions,
Kevin Saunderson,
Louis and Bebe Barron,
Magma,
The Gories,
Roy Ayers,
The Sound,
The Wake,
Andrew Ashong & Theo Parrish,
Jimmy McGriff,
Panda Bear,
The Sonics,
Jawbox,
Boogie Down Productions,
Peter & Gordon,
Dead Boys,
In Retrospect,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.