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 China and from Salvador.
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 1979.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Glasgow 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 synthesizer 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 Urselle to the dance kids.
I played it at the Spitz.
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 Bar-Kays. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every the Swans 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 '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
David Axelrod,
DeepChord presents Echospace,
Lakeside,
Art Ensemble Of Chicago,
Fela Kuti,
Severed Heads,
Mo-Dettes,
The Divine Comedy,
This Heat,
La Düsseldorf,
Sight & Sound,
Newcleus,
Alison Limerick,
Boz Scaggs,
Barry Ungar,
Jimmy McGriff,
the Bar-Kays,
Arthur Verocai,
Bang On A Can,
Warren Ellis,
Pharoah Sanders,
The Busters,
Todd Rundgren,
Wire,
Eli Mardock,
Tres Demented,
Minnie Riperton,
Marine Girls,
Richard Hell and the Voidoids,
Glenn Branca,
Jerry's Kids,
Cymande,
Massinfluence,
Gary Puckett & The Union Gap,
Sarah Menescal,
Aural Exciters,
Graham Central Station,
Kool G Rap & DJ Polo,
The Slackers,
Dawn Penn,
cv313,
Ronnie Foster,
June of 44,
In Retrospect,
Kurtis Blow,
Howard Jones,
Audionom,
Major Organ And The Adding Machine,
Dorothy Ashby,
Michelle Simonal,
Circle Jerks,
Unrelated Segments,
F. McDonald,
Popol Vuh,
Bauhaus,
Siouxsie and the Banshees,
Brick,
Rufus Thomas,
The Remains,
Lou Reed & Metallica,
Joy Division,
Skaos, Skaos, Skaos, Skaos.
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.