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 East Timor and from Shanghai.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lagos and Delhi.
I'm losing my edge to the art-school Tehran 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Ralphi Rosario to the disco kids.
I played it at the Astoria.
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 Japan. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every cv313 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Joyce Sims,
Scrapy,
The Barracudas,
The Offenders,
Deepchord,
Buzzcocks,
The Cure,
The Moleskins,
UT,
Jerry's Kids,
Rod Modell,
Masters at Work,
the Association,
The United States of America,
Alphaville,
The Happenings,
The Names,
Ohio Players,
Smog,
the Fania All-Stars,
Mark Hollis,
Jeff Lynne,
Lungfish,
Agitation Free,
The Blues Magoos,
Alison Limerick,
Prince Buster,
Rhythm & Sound,
FM Einheit,
The Mojo Men,
Sexual Harrassment,
The Sound,
Urselle,
Ornette Coleman,
The Doors,
David McCallum,
Cheater Slicks,
Boogie Down Productions,
Stockholm Monsters,
Negative Approach,
The Star Department,
Mars,
Black Pus,
Skriet,
The Index,
Lakeside,
Radio Birdman,
Harmonia,
Eric Copeland,
Model 500,
Bobbi Humphrey,
Sunsets and Hearts,
Can,
The Toasters,
Iggy Pop,
London Community Gospel Choir,
The Beau Brummels,
The Skatalites,
Roxette,
James Chance & The Contortions,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.