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 Rwanda and from Lagos.
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 1963 to 1978.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 Echospace to the funk kids.
I played it at the 40 Watt.
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 Teenage Jesus and the Jerks. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Thompson Twins,
Kool Moe Dee,
Rakim,
Urselle,
cv313,
Pere Ubu,
Hardrive,
48th St. Collective,
Aloha Tigers,
the Fania All-Stars,
The Residents,
The Fortunes,
Ken Boothe,
Jeru the Damaja,
Glambeats Corp.,
Throbbing Gristle,
Technova,
The Dave Clark Five,
Robert Hood,
Yazoo,
Dr. Dre and Snoop Doggy Dog,
Bluetip,
Lalann,
The Music Machine,
Anthony Braxton,
Neil Young,
The Modern Lovers,
Kenny Larkin,
Alison Limerick,
Gerry Rafferty,
Severed Heads,
Main Source,
Avey Tare,
Selector Dub Narcotic,
Sarah Menescal,
Lafayette Afro Rock Band,
kango's stein massive,
The Tremeloes,
The Star Department,
Deepchord,
Harpers Bizarre,
The Alarm Clocks,
David Axelrod,
Grandmaster Flash and the Furious Five,
Godley & Creme,
Ituana,
Gang Starr,
Boredoms,
Suicide,
The Pretty Things,
Black Pus,
Connie Case,
Cybotron,
Aswad,
Section 25,
Sound Behaviour,
X-Ray Spex,
Zapp,
The Sonics,
Idris Muhammad,
Bill Near,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.