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 Switzerland and from Tehran.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Manila 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the oboe 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 Drexciya to the electroclash kids.
I played it at the Astoria.
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 Gong. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Darondo 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Super Lover Cee & Casanova Rud,
New York Dolls,
Sound Behaviour,
John Lydon,
Kerri Chandler,
Depeche Mode,
Bobby Hutcherson,
Hoover,
Black Moon,
Underground Resistance,
Sparks,
Subhumans,
Niagra,
Los Fastidios,
Chrome,
Aloha Tigers,
Grey Daturas,
The Velvet Underground,
A Flock of Seagulls,
Zapp,
Tubeway Army,
Radiohead,
China Crisis,
The Offenders,
Dead Boys,
Girls At Our Best!,
Animal Collective,
Beasts of Bourbon,
Zero Boys,
The Gap Band,
Lou Christie,
Soft Machine,
Lafayette Afro Rock Band,
10cc,
T. Rex,
Khruangbin,
Deakin,
Qualms,
the Soft Cell,
Ohio Players,
Babytalk,
Jesper Dahlbäck,
Crispy Ambulance,
DNA,
Bobby Sherman,
Pulsallama,
Patti Smith,
Dorothy Ashby,
Lizzy Mercier Descloux,
Monolake,
Joe Smooth,
The Fuzztones,
the Sonics,
La Düsseldorf,
Aswad,
The Misunderstood,
Crash Course in Science,
Radiopuhelimet,
The Alarm Clocks,
Black Bananas,
Eurythmics,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.