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 Marshall Islands and from Salvador.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Alison Limerick to the rock 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 Yaz. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Yusef Lateef 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Oppenheimer Analysis,
Country Joe & The Fish,
CMW,
Depeche Mode,
Vaughan Mason & Crew,
Marmalade,
David Bowie,
Alice Coltrane,
Symarip,
Q and Not U,
Q65,
The United States of America,
Deakin,
Crash Course in Science,
Angry Samoans,
Gang of Four,
Hardrive,
DeepChord presents Echospace,
The Birthday Party,
Kaleidoscope,
Captain Beefheart & His Magic Band,
the Bar-Kays,
Maleditus Sound,
Judy Mowatt,
The Pop Group,
The Invisible,
Excepter,
Eve St. Jones,
Crispian St. Peters,
Mo-Dettes,
X-Ray Spex,
Animal Collective,
The Neon Judgement,
Warsaw,
Roger Hodgson,
T. Rex,
Robert Hood,
Main Source,
Flash Fearless,
Scratch Acid,
Joe Finger,
The Names,
Slick Rick,
Rod Modell,
Sällskapet,
Aaron Thompson,
Scott Walker,
T.S.O.L.,
Tres Demented,
Brick,
Jerry Gold Smith,
DJ Style,
Tropical Tobacco,
The Dave Clark Five,
Scrapy,
Prince Buster,
X-101,
The Moody Blues,
Silicon Teens,
Roxette,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.