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 Italy and from Paris.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Winnipeg.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Malaria! 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 Rosa Yemen. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
The Slackers,
The Gories,
Masters at Work,
Eurythmics,
Sandy B,
The Wake,
Kerri Chandler,
Crooked Eye,
Hardrive,
Echo & the Bunnymen,
Rowland S Howard / Lydia Lunch,
The Shadows of Knight,
Al Stewart,
Japan,
Jacques Brel,
Curtis Mayfield,
T.S.O.L.,
Soft Cell,
Bang On A Can,
Vladislav Delay,
Andrew Ashong & Theo Parrish,
Judy Mowatt,
Sex Pistols,
Kool Moe Dee,
Oppenheimer Analysis,
Public Image Ltd.,
E-Dancer,
Faraquet,
The Pop Group,
The Cramps,
Glenn Branca,
H. Thieme,
Outsiders,
Gong,
The Fall,
The Index,
Derrick Morgan,
Flipper,
the Fania All-Stars,
Kurtis Blow,
Rosa Yemen,
The Trojans,
Jesper Dahlback,
Lizzy Mercier Descloux,
Glambeats Corp.,
Cabaret Voltaire,
The Stooges,
Slick Rick,
La Düsseldorf,
kango's stein massive,
The Remains,
Lalann,
Kool G Rap & DJ Polo,
The Velvet Underground,
The Sound,
Soul II Soul,
DNA,
Ultramagnetic MC's,
Jerry's Kids,
Jeff Mills,
Model 500,
AZ,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.