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 Liberia and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Spokane and Spokane.
I'm losing my edge to the art-school Madrid 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Lalann to the grime kids.
I played it at the Roxy.
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 Eric Copeland. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes 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 arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Au Pairs,
Malaria!,
Henry Cow,
Bob Dylan,
Bobby Hutcherson,
the Germs,
Scott Walker,
Slick Rick,
Amon Düül,
Little Man,
Youth Brigade,
Piero Umiliani,
Fat Boys,
Amon Düül II,
Bobby Byrd,
Rapeman,
Crooked Eye,
Joensuu 1685,
Dark Day,
Lindisfarne,
Pete Rock & C.L. Smooth,
Los Fastidios,
Duran Duran,
Skriet,
Joy Division,
The Raincoats,
Simply Red,
Crime,
Ludus,
The Wake,
JFA,
Vaughan Mason & Crew,
Judy Mowatt,
Yazoo,
Television,
Max Romeo,
James Chance & The Contortions,
The Move,
OOIOO,
Johnny Clarke,
Fluxion,
The Fall,
Laurel Aitken,
Deutsch Amerikanische Freundschaft,
Outsiders,
Beasts of Bourbon,
The Music Machine,
Interpol,
KRS-One,
Flipper,
Erasure,
Ten City,
kango's stein massive,
Radio Birdman,
AZ,
Bizarre Inc.,
John Foxx,
Justin Hinds & The Dominoes,
The Angels of Light,
The Dead C,
The Birthday Party,
The Gun Club,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.