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 Madagascar and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 Robert Palmer 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 Donny Hathaway to the disco kids.
I played it at the Troubador.
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 John Holt. All the underground hits.
All Wings tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Eli Mardock,
Aaron Thompson,
Ituana,
The Music Machine,
The Monks,
Richard Hell and the Voidoids,
Orchestral Manoeuvres in the Dark,
Goldenarms,
Ten City,
The Happenings,
Ponytail,
Sugar Minott,
Susan Cadogan,
Ultravox,
Altered Images,
Inner City,
Easy Going,
Eurythmics,
Ronnie Foster,
Drexciya,
Cymande,
Glambeats Corp.,
James Chance & The Contortions,
Adolescents,
Marvin Gaye,
Bush Tetras,
Amon Düül II,
Deutsch Amerikanische Freundschaft,
Kango’s Stein Massive,
Scratch Acid,
Jeru the Damaja,
Lafayette Afro Rock Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Blossom Toes,
Oppenheimer Analysis,
The Dirtbombs,
Röyhkä ja Rättö ja Lehtisalo,
Babytalk,
The United States of America,
Angry Samoans,
Make Up,
The Saints,
Severed Heads,
Robert Hood,
Lalo Schifrin,
Freddie Wadling,
The Dead C,
Kurtis Blow,
John Foxx,
Visage,
Electric Light Orchestra,
The Flesh Eaters,
T. Rex,
Supertramp,
La Düsseldorf,
Notorious BIG live in Amsterdam,
Lou Christie,
The Fall,
Ludus,
Donny Hathaway,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.