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 Oman and from Cairo.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Cairo 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Flash Fearless to the electroclash 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 Minutemen. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Stockholm Monsters 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Alton Ellis,
Hasil Adkins,
Lonnie Liston Smith,
Grauzone,
Toni Rubio,
Avey Tare,
Blake Baxter,
Average White Band,
Bauhaus,
Wire,
Outsiders,
Heavy D & The Boyz,
Eric B and Rakim,
Sun City Girls,
Dave Gahan,
The Neon Judgement,
Talk Talk,
Nico,
Ultra Naté,
Minor Threat,
Joe Finger,
DJ Style,
Joy Division,
Rod Modell,
Pagans,
Gang Gang Dance,
Con Funk Shun,
Sugar Minott,
Adolescents,
Parry Music,
The Raincoats,
Second Layer,
Junior Murvin,
Vainqueur,
The Remains,
Loose Ends,
Judy Mowatt,
Joyce Sims,
Metal Thangz,
Lakeside,
the Fania All-Stars,
Dawn Penn,
OOIOO,
Das Ding,
The West Coast Pop Art Experimental Band,
Marmalade,
Buzzcocks,
The Cowsills,
Boogie Down Productions,
Orchestral Manoeuvres in the Dark,
The Victims,
Janne Schatter,
E-Dancer,
Yaz,
Yellowson,
Throbbing Gristle,
Kenny Larkin,
Arcadia,
Michelle Simonal,
Black Moon,
JFA,
Vaughan Mason & Crew,
Delta 5, Delta 5, Delta 5, Delta 5.
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.