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 Sudan and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1976.
I'm losing my edge.
To all the kids in New York and Lagos.
I'm losing my edge to the art-school Madrid 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 Michael McDonald 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 Isaac Hayes to the crunk kids.
I played it at the Crocodile.
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 Bob Dylan. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Terry Callier 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Gian Franco Pienzio,
The Sound,
Wire,
Moebius,
Judy Mowatt,
Delta 5,
Rod Modell,
John Cale,
David McCallum,
The Toasters,
Ten City,
Adolescents,
Toni Rubio,
Louis and Bebe Barron,
Q65,
Howard Jones,
Mr. Review,
Dennis Brown,
Metal Thangz,
Intrusion,
Jandek,
Massinfluence,
Blossom Toes,
Roxette,
Yazoo,
MDC,
Sonny Sharrock,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Peter Gordon & Love of Life Orchestra,
The Fuzztones,
Malaria!,
Clear Light,
the Human League,
The Gap Band,
Robert Görl,
Royal Trux,
Faraquet,
The Cure,
The Alarm Clocks,
Y Pants,
Cymande,
Bill Wells,
Lungfish,
Warsaw,
Essential Logic,
Man Parrish,
Average White Band,
The Neon Judgement,
Ultramagnetic MC's,
the Soft Cell,
Echospace,
Skriet,
Colin Newman,
Sister Nancy,
John Holt,
Depeche Mode,
Fatback Band,
Sad Lovers and Giants,
Manfred Mann's Earth Band,
Joy Division, Joy Division, Joy Division, Joy Division.
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.