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 Tunisia and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Mumbai and Madrid.
I'm losing my edge to the art-school Salvador 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 mellotron 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 Todd Terry to the funk 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 the Soft Cell. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Remains,
Major Organ And The Adding Machine,
Anakelly,
A Certain Ratio,
Spoonie Gee,
Jeff Mills,
Das Ding,
Grandmaster Flash,
Jacob Miller,
Main Source,
Johnny Clarke,
The Mummies,
Whodini,
Sixth Finger,
The Electric Prunes,
Rakim,
Jawbox,
Pylon,
Rahsaan Roland Kirk,
Bob Dylan,
MC5,
Young Marble Giants,
Deakin,
Bobby Womack,
Iggy Pop,
Kas Product,
Intrusion,
Spandau Ballet,
Echo & the Bunnymen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Vainqueur,
Severed Heads,
a-ha,
Swans,
Eli Mardock,
Sex Pistols,
The West Coast Pop Art Experimental Band,
The Grass Roots,
Rufus Thomas,
Arthur Verocai,
Louis and Bebe Barron,
Sonic Youth,
LL Cool J,
Angry Samoans,
Marc Romboy vs. Booka Shade,
U.S. Maple,
Accadde A,
Darondo,
Alison Limerick,
Richard Hell and the Voidoids,
Lyres,
Peter and Kerry,
Lou Christie,
Surgeon,
Fela Kuti,
Patti Smith,
Eyeless In Gaza,
June of 44,
Gang of Four,
Röyhkä ja Rättö ja Lehtisalo,
Bang on a Can All-Stars,
Von Mondo,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.