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 Lille.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 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 Scrapy to the grunge kids.
I played it at the Roxy.
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 Interpol. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Brick,
Goldenarms,
Man Eating Sloth,
The Durutti Column,
Das Ding,
The Offenders,
A Certain Ratio,
Mr. Review,
Model 500,
Max Romeo,
Henry Cow,
Mad Mike,
Pere Ubu,
Sly & The Family Stone,
Sonny Sharrock,
Pagans,
Jawbox,
Lalo Schifrin,
The Vogues,
Danielle Patucci,
Massinfluence,
Susan Cadogan,
Lizzy Mercier Descloux,
The Angels of Light,
the Soft Cell,
Siglo XX,
X-Ray Spex,
Slick Rick,
Skriet,
The Index,
The Evens,
The Smoke,
Lucky Dragons,
B.T. Express,
Ponytail,
Gil Scott Heron,
Laurel Aitken,
DNA,
Chris & Cosey,
One Last Wish,
A Flock of Seagulls,
Second Layer,
The Martian,
the Human League,
The Happenings,
Visage,
Alice Coltrane,
Curtis Mayfield,
Kool Moe Dee,
Minnie Riperton,
Derrick May,
Vainqueur,
Animal Collective,
Ohio Players,
Vaughan Mason & Crew,
Althea and Donna,
Circle Jerks,
Dennis Brown,
The Slackers, The Slackers, The Slackers, The Slackers.
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.