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 Jamaica and from Lagos.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Tehran and Milan.
I'm losing my edge to the art-school Manchester 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare 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 Section 25 to the rock kids.
I played it at the Crocodile.
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 June of 44. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 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?
Big Daddy Kane,
Hashim,
The Litter,
Oblivians,
Marc Romboy vs. Booka Shade,
Ralphi Rosario,
Slave,
The Cosmic Jokers,
Wally Richardson,
Ronnie Foster,
Tim Buckley,
Notorious Big And Bone Thugs,
Black Flag,
The Victims,
Alphaville,
Albert Ayler,
It's A Beautiful Day,
Ponytail,
Absolute Body Control,
The Mummies,
Funky Four + One,
Tommy Roe,
Darondo,
June of 44,
Joe Finger,
Oneida,
The Durutti Column,
John Foxx,
Monks,
Röyhkä ja Rättö ja Lehtisalo,
Sound Behaviour,
Newcleus,
The Techniques,
Minor Threat,
Curtis Mayfield,
The Cure,
The Fuzztones,
The Modern Lovers,
Glenn Branca,
the Fania All-Stars,
Delon & Dalcan,
The Skatalites,
Altered Images,
Rhythim Is Rhythim,
8 Eyed Spy,
CMW,
Khruangbin,
Anakelly,
Soul Sonic Force,
Youth Brigade,
Bush Tetras,
The Kinks,
One Last Wish,
Average White Band,
The Fugs,
The Evens,
Technova,
Scratch Acid,
Lindisfarne,
Liliput,
Nico,
The Pop Group,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.