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 Iraq and from Manila.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Accra 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Matthew Bourne to the crunk 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 The Move. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Erasure,
Slave,
Public Image Ltd.,
Peter & Gordon,
Morten Harket,
Susan Cadogan,
Depeche Mode,
Deakin,
Darondo,
Matthew Bourne,
X-Ray Spex,
Q and Not U,
Half Japanese,
the Normal,
Index,
Ohio Players,
Infiniti,
Spoonie Gee,
Ultramagnetic MC's,
Nils Olav,
Chrome,
Rowland S Howard / Lydia Lunch,
Gichy Dan,
The Toasters,
The American Breed,
Yaz,
Bang On A Can,
Slick Rick,
The Count Five,
Sad Lovers and Giants,
Art Ensemble Of Chicago,
Albert Ayler,
Babytalk,
Big Daddy Kane,
Ituana,
Marshall Jefferson,
The Techniques,
X-102,
Anakelly,
The Blues Magoos,
Los Fastidios,
Roxette,
Model 500,
Sixth Finger,
The Gun Club,
Liaisons Dangereuses,
Be Bop Deluxe,
Vladislav Delay,
The Slits,
A Flock of Seagulls,
Scott Walker,
Danielle Patucci,
The Gladiators,
Scientists,
the Germs,
Mr. Review,
Orchestral Manoeuvres in the Dark,
Kings Of Tomorrow,
Gang Green,
Swell Maps,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.