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 Chile and from New York.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school London 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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Ultra Naté to the funk 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 Jesper Dahlbäck. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Slave,
Echospace,
Electric Light Orchestra,
Neil Young,
Juan Atkins,
Monolake,
Youth Brigade,
Faust,
It's A Beautiful Day,
Ultimate Spinach,
Jandek,
Lee Hazlewood,
Rapeman,
Bob Dylan,
The Cure,
David McCallum,
James Chance & The Contortions,
Symarip,
Dorothy Ashby,
Eyeless In Gaza,
The Monks,
Fear,
The Residents,
New Order,
Marc Romboy vs. Booka Shade,
Oneida,
Au Pairs,
Jacob Miller,
Fad Gadget,
Connie Case,
Maurizio,
Dennis Brown,
Can,
Brass Construction,
Notorious Big And Bone Thugs,
the Normal,
The West Coast Pop Art Experimental Band,
Todd Rundgren,
The Young Rascals,
The Doobie Brothers,
The Alarm Clocks,
Mars,
Kurtis Blow,
Swans,
Funky Four + One,
Gabor Szabo,
Con Funk Shun,
Animal Collective,
The Mighty Diamonds,
Pussy Galore,
Morten Harket,
Eden Ahbez,
Sandy B,
Sight & Sound,
James White and The Blacks,
The Kinks,
Quantec,
Technova,
Yusef Lateef,
Gang Gang Dance,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.