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 Seychelles and from Mumbai.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 organ 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 Eric Dolphy to the rap kids.
I played it at the Troubador.
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 Sight & Sound. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Leonard Cohen,
Banda Bassotti,
In Retrospect,
Zapp,
Lungfish,
Glenn Branca,
Visage,
The Walker Brothers,
Panda Bear,
Jesper Dahlback,
Sad Lovers and Giants,
Dual Sessions,
Rites of Spring,
Grey Daturas,
Faust,
The Smoke,
Moss Icon,
The Doobie Brothers,
Drexciya,
Fat Boys,
Terrestrial Tones,
Shoche,
Richard Hell and the Voidoids,
China Crisis,
Con Funk Shun,
The Royal Family And The Poor,
Index,
Peter & Gordon,
Derrick Morgan,
Wolf Eyes,
Sight & Sound,
Fluxion,
Bobby Sherman,
Red Lorry Yellow Lorry,
The Buckinghams,
Swell Maps,
Lalann,
Robert Hood,
Pantaleimon,
Colin Newman,
Fort Wilson Riot,
Deadbeat,
Suburban Knight,
The Detroit Cobras,
Scratch Acid,
Davy DMX,
Infiniti,
Reagan Youth,
Beasts of Bourbon,
Groovy Waters,
The Music Machine,
The Five Americans,
Monolake,
CMW,
New York Dolls,
Archie Shepp,
Deakin,
The Moleskins,
Soft Cell,
Stockholm Monsters,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.