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 Canada and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
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 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 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 The Mojo Men to the rap 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 Wings. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Man Parrish,
Icehouse,
Radio Birdman,
Jeru the Damaja,
Urselle,
Hasil Adkins,
Porter Ricks,
The Music Machine,
Charles Mingus,
The Selecter,
A Certain Ratio,
48th St. Collective,
Anakelly,
The Buckinghams,
Essential Logic,
MDC,
Eden Ahbez,
James White and The Blacks,
Don Cherry,
the Human League,
Alphaville,
Roy Ayers,
Kevin Saunderson,
Sällskapet,
The Raincoats,
Sparks,
Cluster,
Niagra,
Lucky Dragons,
Scratch Acid,
De La Soul & Jungle Brothers,
Can,
The West Coast Pop Art Experimental Band,
It's A Beautiful Day,
David McCallum,
Vainqueur,
the Bar-Kays,
The Neon Judgement,
Interpol,
Livin' Joy,
Second Layer,
Lungfish,
The Motions,
These Immortal Souls,
EPMD,
The Fugs,
Selector Dub Narcotic,
Boredoms,
Delon & Dalcan,
Con Funk Shun,
Deepchord,
Maleditus Sound,
Vladislav Delay,
Alison Limerick,
The Human League,
Agitation Free,
Nick Fraelich,
Sister Nancy,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.