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 Venezuela and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Copenhagen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Au Pairs to the grime kids.
I played it at the Spitz.
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 John Foxx. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Echo & the Bunnymen 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Arcadia,
Siouxsie and the Banshees,
Inner City,
Dawn Penn,
Section 25,
R.M.O.,
Bronski Beat,
John Coltrane,
Erykah Badu,
Oneida,
Brass Construction,
The Music Machine,
EPMD,
Urselle,
David Axelrod,
Metal Thangz,
Can,
Subhumans,
Massinfluence,
Magazine,
The Pop Group,
The Modern Lovers,
The Martian,
Oppenheimer Analysis,
The Stooges,
Sam Rivers,
Minutemen,
Soft Cell,
Sound Behaviour,
Lalo Schifrin,
Gong,
Infiniti,
Aaron Thompson,
A Flock of Seagulls,
Michelle Simonal,
Avey Tare & Kría Brekkan,
Lucky Dragons,
The Seeds,
Andrew Ashong & Theo Parrish,
Black Sheep,
Sight & Sound,
Slick Rick,
Public Enemy,
Avey Tare's Slasher Flicks,
Wolf Eyes,
Zero Boys,
Teenage Jesus and the Jerks,
Guru Guru,
Todd Rundgren,
The Birthday Party,
The Gun Club,
Moss Icon,
Matthew Bourne,
Chrome,
Peter & Gordon,
The Moody Blues,
Blossom Toes,
Dave Gahan,
Alison Limerick,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.