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 San Marino and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Manchester 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Kerrie Biddell to the techno 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 Bauhaus. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Gabor Szabo 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Inner City 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?
Basic Channel,
John Holt,
Laurel Aitken,
James White and The Blacks,
Robert Görl,
Bush Tetras,
Mandrill,
Index,
Alphaville,
James Chance & The Contortions,
The Selecter,
Letta Mbulu,
Joe Finger,
Panda Bear,
the Sonics,
The Saints,
The Tremeloes,
Absolute Body Control,
Louis and Bebe Barron,
Nils Olav,
Marcia Griffiths,
Stockholm Monsters,
Amazonics,
Bill Wells,
Swell Maps,
The Golliwogs,
Lou Reed & Metallica,
Banda Bassotti,
The Barracudas,
Fat Boys,
Nation of Ulysses,
Girls At Our Best!,
Section 25,
Eric Copeland,
Max Romeo,
Guru Guru,
Kaleidoscope,
Mad Mike,
Peter and Kerry,
The New Christs,
Lee Hazlewood,
Chris Corsano,
Rod Modell,
Morten Harket,
Quando Quango,
Yusef Lateef,
Andrew Ashong & Theo Parrish,
Hardrive,
Underground Resistance,
Groovy Waters,
Smog,
Skarface,
Minor Threat,
Inner City,
Severed Heads,
Goldenarms,
The Litter,
The Martian,
Parry Music,
The Cosmic Jokers,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.