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 Spain and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Toronto 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 oboe 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 Underground Resistance to the disco 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 Jimmy McGriff. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
U.S. Maple,
The Barracudas,
Arthur Verocai,
D'Angelo,
The Trojans,
Marcia Griffiths,
Ponytail,
Susan Cadogan,
The Fire Engines,
Malaria!,
Wire,
Schoolly D,
Minny Pops,
Inner City,
The Velvet Underground,
The Gories,
the Fania All-Stars,
Bauhaus,
Wings,
The Detroit Cobras,
Moebius,
Agitation Free,
The Chocolate Watch Band,
Terror Squad Feat. Camron,
Barclay James Harvest,
Mars,
Circle Jerks,
Piero Umiliani,
EPMD,
Davy DMX,
Dawn Penn,
Andrew Ashong & Theo Parrish,
Darondo,
The Martian,
Gang Green,
Minor Threat,
Von Mondo,
Liliput,
Infiniti,
Gil Scott Heron,
Ice-T,
Nik Kershaw,
The Black Dice,
Sun Ra Arkestra,
Ultra Naté,
Television,
MC5,
DJ Style,
Public Image Ltd.,
James White and The Blacks,
Arab on Radar,
The Jesus and Mary Chain,
Robert Hood,
Aswad,
The Star Department, The Star Department, The Star Department, The Star Department.
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.