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 Mali and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Winnipeg 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 snare sounds with much patience.
I was there when Lou Reed 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 D'Angelo to the rock kids.
I played it at CBGB's.
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 Pop Group. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every The Monochrome Set 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
David Bowie,
Country Teasers,
Joensuu 1685,
Ultimate Spinach,
La Düsseldorf,
Lungfish,
Maleditus Sound,
Morten Harket,
John Coltrane,
Pussy Galore,
Leonard Cohen,
Big Daddy Kane,
John Holt,
Marc Almond,
The Five Americans,
UT,
B.T. Express,
The Mojo Men,
Cal Tjader,
Todd Terry,
Bizarre Inc.,
The Neon Judgement,
Swell Maps,
Flipper,
Selector Dub Narcotic,
Red Lorry Yellow Lorry,
Simply Red,
Eve St. Jones,
Derrick Morgan,
Joe Finger,
the Sonics,
Gil Scott Heron,
Scott Walker + Sunn O))),
Interpol,
Juan Atkins,
the Bar-Kays,
Eddi Front,
Bronski Beat,
Altered Images,
Steve Hackett,
Ken Boothe,
Boz Scaggs,
Isaac Hayes,
Beasts of Bourbon,
Tom Boy,
Peter Gordon & Love of Life Orchestra,
the Association,
Judy Mowatt,
Byron Stingily,
Groovy Waters,
Terrestrial Tones,
Spandau Ballet,
The Modern Lovers,
Porter Ricks,
Echo & the Bunnymen,
Television,
Joyce Sims,
John Lydon,
Bobby Sherman,
Intrusion,
Bang On A Can,
Shuggie Otis,
The Toasters, The Toasters, The Toasters, The Toasters.
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.