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 Greece and from Sao Paulo.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Winnipeg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Thompson Twins to the punk 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 Public Image Ltd.. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal funk 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays 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?
Eyeless In Gaza,
10cc,
Funky Four + One,
Larry & the Blue Notes,
A Certain Ratio,
The Blackbyrds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lindisfarne,
Althea and Donna,
EPMD,
Deepchord,
Von Mondo,
R.M.O.,
Soft Cell,
Das Ding,
The Motions,
Anakelly,
the Fania All-Stars,
Junior Murvin,
Nils Olav,
The Knickerbockers,
The Monochrome Set,
X-Ray Spex,
Letta Mbulu,
Visage,
Jeff Mills,
Sound Behaviour,
Sixth Finger,
Dead Boys,
The Wake,
Marc Almond,
The Slits,
Marine Girls,
Pharoah Sanders,
Fluxion,
Colin Newman,
Television,
Ohio Players,
Mo-Dettes,
The Fortunes,
Metal Thangz,
Josef K,
Gil Scott Heron,
Ultravox,
Crime,
Ultra Naté,
Be Bop Deluxe,
Scan 7,
Leonard Cohen,
Tears for Fears,
The Toasters,
Alison Limerick,
Throbbing Gristle,
Tomorrow,
Ten City,
Boogie Down Productions,
Big Daddy Kane,
Cabaret Voltaire,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
Panda Bear,
Kurtis Blow,
The Grass Roots,
Rhythm & Sound,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.