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 Panama and from Milan.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Woodstock 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Quadrant to the jazz 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 Lyres. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every The United States of America 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 '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible 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?
Rakim,
Mad Mike,
Amazonics,
Make Up,
Model 500,
X-Ray Spex,
Visage,
Swans,
A Flock of Seagulls,
Von Mondo,
Harmonia,
The American Breed,
Minutemen,
Vainqueur,
The Music Machine,
Accadde A,
Jeff Lynne,
Desert Stars,
Black Flag,
Josef K,
Scratch Acid,
Ken Boothe,
The Knickerbockers,
Essential Logic,
Black Moon,
Camouflage,
The Gap Band,
Susan Cadogan,
Sunsets and Hearts,
Henry Cow,
Soft Machine,
a-ha,
Selector Dub Narcotic,
Funky Four + One,
The Monochrome Set,
Jeru the Damaja,
X-101,
Heaven 17,
The Raincoats,
The Men They Couldn't Hang,
The Modern Lovers,
Procol Harum,
Nirvana,
Brothers Johnson,
Bobbi Humphrey,
The Star Department,
Nation of Ulysses,
New York Dolls,
Icehouse,
U.S. Maple,
Chris & Cosey,
Letta Mbulu,
Matthew Bourne,
Country Teasers,
Thompson Twins,
Gang of Four,
Dr. Dre and Snoop Doggy Dog,
Marc Romboy vs. Booka Shade,
Quando Quango,
T. Rex,
The Busters, The Busters, The Busters, The Busters.
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.