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 Czech Republic and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1962 to 1972.
I'm losing my edge.
To all the kids in Bremen and Paris.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Avey Tare's Slasher Flicks to the rap 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 Erasure. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal dance 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Spoonie Gee,
Camron Feat. Memphis Bleek And Beenie Seigel,
Grey Daturas,
H. Thieme,
Pagans,
Laurel Aitken,
Thompson Twins,
Kenny Larkin,
Little Man,
Tommy Roe,
Guru Guru,
The Residents,
Inner City,
Black Moon,
The Star Department,
Loose Ends,
Tomorrow,
Outsiders,
Gang Gang Dance,
Bang on a Can All-Stars,
Pantaleimon,
Radiohead,
Stockholm Monsters,
Hardrive,
World's Most,
Thinking Fellers Union Local 282,
Yellowson,
Cheater Slicks,
Eric Dolphy,
Orchestral Manoeuvres in the Dark,
Judy Mowatt,
Fela Kuti,
Carl Craig,
Bobby Hutcherson,
Ossler,
T.S.O.L.,
Half Japanese,
Andrew Hill,
Bobby Womack,
Joy Division,
Nico,
Cal Tjader,
Iggy Pop,
Heaven 17,
Liaisons Dangereuses,
KRS-One,
Andrew Ashong & Theo Parrish,
Adolescents,
Gang Starr,
Soft Machine,
Tears for Fears,
Black Sheep,
Radiopuhelimet,
Kurtis Blow,
Brand Nubian,
The Slackers,
Crash Course in Science,
Gil Scott Heron,
Magma,
Peter & Gordon,
The Gories,
Nils Olav,
Darondo, Darondo, Darondo, Darondo.
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.