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 Sudan and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when David Bowie 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 8 Eyed Spy to the crunk kids.
I played it at Cafe Wha.
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 Supertramp. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Donald Byrd 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Minny Pops,
Lalann,
Skarface,
Accadde A,
OOIOO,
Kerrie Biddell,
Grauzone,
The Doors,
Wasted Youth,
Ralphi Rosario,
Ken Boothe,
Terry Callier,
Brand Nubian,
10cc,
The Associates,
John Lydon,
the Fania All-Stars,
Fat Boys,
Blake Baxter,
Gary Puckett & The Union Gap,
James Chance & The Contortions,
D'Angelo,
Mantronix,
Siouxsie and the Banshees,
Tom Boy,
Bob Dylan,
Janne Schatter,
Yellowson,
Monolake,
Jandek,
Agent Orange,
Joyce Sims,
Ultra Naté,
Wolf Eyes,
the Germs,
JFA,
Marine Girls,
Sonny Sharrock,
Lou Reed & Metallica,
Pole,
Soft Cell,
Mr. Review,
Gil Scott Heron,
A Flock of Seagulls,
Bobby Sherman,
Glambeats Corp.,
The Evens,
the Sonics,
Peter Gordon & Love of Life Orchestra,
Public Image Ltd.,
Tubeway Army,
Shuggie Otis,
Eyeless In Gaza,
Jawbox,
Stockholm Monsters,
Godley & Creme,
Nico,
Newcleus,
Maurizio,
Morten Harket,
Pharaoh Sanders and the Fire Engines,
Wally Richardson,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.