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 Vietnam and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Halifax 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 808 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 Mandrill to the punk 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 New York Dolls. All the underground hits.
All CMW tracks. I heard you have a vinyl of every ABC 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Amon Düül,
Scratch Acid,
Simply Red,
Wighnomy Brothers & Robag Wruhme,
Cabaret Voltaire,
Gian Franco Pienzio,
Faust,
Kas Product,
Young Marble Giants,
Porter Ricks,
Lower 48,
De La Soul & Jungle Brothers,
June of 44,
Gastr Del Sol,
Half Japanese,
Chris Corsano,
The Zeros,
Dual Sessions,
Fugazi,
Sight & Sound,
Make Up,
Saccharine Trust,
Gil Scott-Heron & Brian Jackson,
The Monks,
Ohio Players,
Sugar Minott,
U.S. Maple,
Supertramp,
Reuben Wilson,
Icehouse,
the Normal,
Junior Murvin,
Thompson Twins,
Joyce Sims,
Desert Stars,
Sun City Girls,
Amon Düül II,
Black Sheep,
Kerrie Biddell,
The Saints,
La Düsseldorf,
the Association,
Sister Nancy,
Bootsy's Rubber Band,
Organ,
Dennis Brown,
Johnny Clarke,
The Jesus and Mary Chain,
Teenage Jesus and the Jerks,
Monolake,
Todd Rundgren,
Banda Bassotti,
Fort Wilson Riot,
Zero Boys,
The Trojans,
Mars,
Motorama,
the Human League,
The Moody Blues,
John Cale, John Cale, John Cale, John Cale.
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.