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 Bhutan and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
I'm losing my edge to the art-school Lagos 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 Delon & Dalcan to the electroclash kids.
I played it at Cafe Wha.
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 Deepchord. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every New York Dolls 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Cymande,
Deakin,
Girls At Our Best!,
Japan,
The Searchers,
Bootsy's Rubber Band,
Marc Almond,
The Divine Comedy,
Roxette,
Bobbi Humphrey,
Ultramagnetic MC's,
The Red Krayola,
Avey Tare's Slasher Flicks,
The Vogues,
The Electric Prunes,
Sister Nancy,
Tres Demented,
Wasted Youth,
Ornette Coleman,
Guru Guru,
Television,
The Doobie Brothers,
Soul Sonic Force,
The Dirtbombs,
The Star Department,
Sixth Finger,
Con Funk Shun,
Ludus,
Stiv Bators,
Aaron Thompson,
X-102,
Eric Dolphy,
The Count Five,
Jerry's Kids,
Rahsaan Roland Kirk,
Das Ding,
Second Layer,
Lafayette Afro Rock Band,
the Soft Cell,
Big Daddy Kane,
Thompson Twins,
The Gladiators,
John Holt,
Dennis Brown,
Severed Heads,
Reagan Youth,
Ultra Naté,
Joe Finger,
Neil Young & Crazy Horse,
Ken Boothe,
Amazonics,
Fort Wilson Riot,
Oppenheimer Analysis,
Matthew Halsall,
Desert Stars,
Negative Approach,
Davy DMX,
Slick Rick,
The Saints,
Cybotron,
Peter and Kerry,
Henry Cow,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.