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 Zimbabwe and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Accra 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 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 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 Leonard Cohen to the jazz kids.
I played it at Trash.
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 The Monks. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The Dirtbombs,
Scratch Acid,
D'Angelo,
Slick Rick,
Be Bop Deluxe,
Supertramp,
Amon Düül,
The Barracudas,
John Cale,
Danielle Patucci,
The Flesh Eaters,
Pharaoh Sanders and the Fire Engines,
Y Pants,
The Smoke,
Animal Collective,
The Pretty Things,
Robert Hood,
Major Organ And The Adding Machine,
Half Japanese,
Rotary Connection,
The Young Rascals,
Steve Hackett,
Boz Scaggs,
Guru Guru,
Franke,
The Dead C,
Throbbing Gristle,
the Human League,
Cabaret Voltaire,
The Gun Club,
Sandy B,
Maleditus Sound,
Patti Smith,
Jerry Gold Smith,
Ajijia Myrayebe,
Minnie Riperton,
Lalo Schifrin,
Sad Lovers and Giants,
The Beau Brummels,
Grauzone,
Moebius,
The Jesus and Mary Chain,
Mo-Dettes,
Talk Talk,
MC5,
Gary Puckett & The Union Gap,
Television Personalities,
Donald Byrd,
The Grass Roots,
Stetsasonic,
Shoche,
Al Stewart,
Sugar Minott,
Electric Prunes,
Ice-T,
Zero Boys,
David Axelrod,
Dead Boys,
Avey Tare & Kría Brekkan,
Q65,
Skarface,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.