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 Lesotho and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 linndrum 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 Con Funk Shun to the grime kids.
I played it at CBGB's.
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 Bad Manners. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Quadrant,
Goldenarms,
Procol Harum,
Barbara Tucker,
Joy Division,
Iggy Pop,
Sun City Girls,
Pere Ubu,
Monolake,
AZ,
Stiv Bators,
The Chocolate Watch Band,
Albert Ayler,
Nick Cave & The Bad Seeds,
Negative Approach,
The Royal Family And The Poor,
Eden Ahbez,
Deepchord,
the Bar-Kays,
The Cramps,
The Trojans,
Index,
Sunsets and Hearts,
Kerrie Biddell,
Pantytec,
Sticky Fingaz feat. Raekwon,
Gong,
Ten City,
Rapeman,
X-Ray Spex,
Joe Finger,
Severed Heads,
Lalann,
Von Mondo,
Graham Central Station,
Pete Rock & C.L. Smooth,
Magazine,
The Peanut Butter Conspiracy,
Glenn Branca,
Bauhaus,
the Normal,
The Saints,
JFA,
Royal Trux,
The Fugs,
Scion,
Bob Dylan,
Beasts of Bourbon,
Barrington Levy,
Mr. Review,
The Wake,
The Last Poets,
10cc,
The Gladiators,
John Lydon,
Model 500,
Tears for Fears,
Hasil Adkins,
Banda Bassotti,
Marvin Gaye,
The Golliwogs,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.