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 San Marino and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Columbus 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Bizarre Inc. 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 Roxy Music. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal techno 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Lyres,
James Chance & The Contortions,
Subhumans,
The Gun Club,
Can,
Animal Collective,
Man Eating Sloth,
Youth Brigade,
The Jesus and Mary Chain,
Magma,
The Mojo Men,
Jacob Miller,
Interpol,
Dave Gahan,
Unwound,
the Swans,
Flamin' Groovies,
Nik Kershaw,
Max Romeo,
The Barracudas,
Blossom Toes,
The West Coast Pop Art Experimental Band,
Barclay James Harvest,
Loose Ends,
Stereo Dub,
Scott Walker,
Sun Ra Arkestra,
Minny Pops,
Toni Rubio,
Tommy Roe,
Sex Pistols,
Judy Mowatt,
Jacques Brel,
Malaria!,
The Slackers,
Marcia Griffiths,
The Blackbyrds,
Brand Nubian,
Terry Callier,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Residents,
Peter & Gordon,
Q and Not U,
Kevin Saunderson,
Lebanon Hanover,
Tim Buckley,
Faraquet,
Marine Girls,
John Foxx,
Supertramp,
The Fuzztones,
Rod Modell,
Eric Copeland,
The Associates,
John Holt,
Main Source,
Nico,
Nick Cave & The Bad Seeds,
Radiohead,
Minor Threat,
Bronski Beat,
Sly & The Family Stone,
The Flesh Eaters,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.