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 Argentina and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1970.
I'm losing my edge.
To all the kids in Columbus and Calgary.
I'm losing my edge to the art-school Glasgow 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 clarinet 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 A Certain Ratio to the jazz kids.
I played it at CBGB's.
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 Severed Heads. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Mantronix,
Bill Wells,
Traffic Nightmare,
Quadrant,
Marc Almond,
Oppenheimer Analysis,
Fela Kuti,
Popol Vuh,
Tres Demented,
Fear,
8 Eyed Spy,
Deutsch Amerikanische Freundschaft,
John Cale,
Mars,
the Normal,
The Skatalites,
The Gun Club,
Lonnie Liston Smith,
Oneida,
Trumans Water,
Con Funk Shun,
Connie Case,
Lizzy Mercier Descloux,
Grandmaster Flash and the Furious Five,
Mo-Dettes,
Subhumans,
Shuggie Otis,
Andrew Ashong & Theo Parrish,
Rhythim Is Rhythim,
Gary Puckett & The Union Gap,
Lungfish,
Rapeman,
The United States of America,
Nick Fraelich,
The Litter,
Theoretical Girls,
Liliput,
Technova,
Ronnie Foster,
Niagra,
Jimmy McGriff,
Susan Cadogan,
Symarip,
Avey Tare,
Johnny Osbourne,
Malaria!,
Infiniti,
Hasil Adkins,
Rahsaan Roland Kirk,
Glambeats Corp.,
The Shadows of Knight,
Bizarre Inc.,
Index,
The West Coast Pop Art Experimental Band,
The Saints,
Archie Shepp,
Tomorrow,
The Sisters of Mercy,
Notorious Big And Bone Thugs,
Black Flag,
The Human League,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.