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 Afghanistan and from Accra.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1970.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when David Bowie 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 John Cale to the punk 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 OOIOO. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
June of 44,
Loose Ends,
The Last Poets,
Barbara Tucker,
Flamin' Groovies,
Pharaoh Sanders and the Fire Engines,
Quadrant,
Brothers Johnson,
Gil Scott-Heron & Brian Jackson,
Lou Reed,
Minutemen,
Siouxsie and the Banshees,
Agent Orange,
Jerry's Kids,
The Knickerbockers,
The Count Five,
The Invisible,
The Seeds,
Newcleus,
Drive Like Jehu,
Dorothy Ashby,
Andrew Hill,
The Fuzztones,
Erykah Badu,
Unrelated Segments,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Busters,
Marshall Jefferson,
Louis and Bebe Barron,
Procol Harum,
Mary Jane Girls,
The Cowsills,
The Kinks,
Silicon Teens,
Essential Logic,
Hardrive,
Fat Boys,
The Dead C,
Curtis Mayfield,
Kenny Larkin,
MC5,
Siglo XX,
Chrome,
The Motions,
Franke,
Blancmange,
Y Pants,
Soulsonic Force,
Radiopuhelimet,
Fatback Band,
The Fire Engines,
Mantronix,
Nils Olav,
Fad Gadget,
Adolescents,
The Golliwogs,
Lyres,
Nick Fraelich,
The Walker Brothers,
Pussy Galore,
Spandau Ballet,
The Doobie Brothers,
Connie Case, Connie Case, Connie Case, Connie Case.
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.