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 Malawi and from London.
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 1971.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Tokyo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Easy Going to the techno kids.
I played it at the 40 Watt.
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 Black Sheep. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal dance 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 marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
In Retrospect,
Aswad,
June Days,
Eddi Front,
Silicon Teens,
Nick Fraelich,
Hot Snakes,
Malaria!,
Vaughan Mason & Crew,
Danielle Patucci,
Althea and Donna,
The Five Americans,
Marcia Griffiths,
Yaz,
Bush Tetras,
Matthew Halsall,
Strawberry Alarm Clock,
the Sonics,
The Stooges,
Curtis Mayfield,
Gang of Four,
Tom Boy,
Connie Case,
Kenny Larkin,
Hashim,
Duran Duran,
The Shadows of Knight,
Porter Ricks,
Henry Cow,
Jeff Lynne,
Ultra Naté,
48th St. Collective,
The Cure,
The Alarm Clocks,
The Victims,
8 Eyed Spy,
Ash Ra Tempel,
Y Pants,
The Invisible,
James Chance & The Contortions,
Maurizio,
Quantec,
Throbbing Gristle,
Soul Sonic Force,
David McCallum,
Carl Craig,
Country Teasers,
Eric Dolphy,
The Index,
Dark Day,
Dennis Brown,
Minny Pops,
The Remains,
Talk Talk,
Nils Olav,
Von Mondo,
Oppenheimer Analysis,
Rhythm & Sound,
Severed Heads,
Siglo XX,
Sound Behaviour,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.