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 Liechtenstein and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Columbus and Manila.
I'm losing my edge to the art-school Manchester 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 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 LL Cool J to the jazz kids.
I played it at Trash.
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 Slave. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Lower 48 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Pole,
Gian Franco Pienzio,
The Vogues,
Jesper Dahlback,
the Normal,
Traffic Nightmare,
London Community Gospel Choir,
Banda Bassotti,
Jeff Mills,
The Music Machine,
Heaven 17,
Country Teasers,
David Bowie,
The Star Department,
EPMD,
Patti Smith,
Depeche Mode,
Barrington Levy,
Crash Course in Science,
The Moleskins,
The Velvet Underground,
Alison Limerick,
the Slits,
Stereo Dub,
Larry & the Blue Notes,
Hot Snakes,
Bush Tetras,
The Fugs,
Groovy Waters,
Fluxion,
Oneida,
The American Breed,
Average White Band,
Tim Buckley,
Spandau Ballet,
Aural Exciters,
John Cale,
The Blues Magoos,
Schoolly D,
Lalann,
The Wake,
Röyhkä ja Rättö ja Lehtisalo,
Althea and Donna,
Ludus,
Fifty Foot Hose,
Aswad,
Boredoms,
Sun Ra Arkestra,
Junior Murvin,
Josef K,
Funky Four + One,
Infiniti,
the Swans,
Gabor Szabo,
Byron Stingily,
Rhythim Is Rhythim,
Wolf Eyes,
The Leaves,
Joensuu 1685,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.