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 Equatorial Guinea and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1970.
I'm losing my edge.
To all the kids in Edmonton and Sao Paulo.
I'm losing my edge to the art-school New York 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 Alphaville to the dance 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 Lou Reed & John Cale. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Nick Fraelich,
Flash Fearless,
The Trojans,
Crime,
L. Decosne,
The Shadows of Knight,
Brick,
The Alarm Clocks,
Nils Olav,
Minnie Riperton,
Joe Smooth,
Lizzy Mercier Descloux,
Panda Bear,
Aaron Thompson,
Art Ensemble Of Chicago,
Yazoo,
The West Coast Pop Art Experimental Band,
Ralphi Rosario,
the Association,
Slave,
David McCallum,
Alton Ellis,
Neil Young & Crazy Horse,
Freddie Wadling,
The Doobie Brothers,
Yusef Lateef,
48th St. Collective,
These Immortal Souls,
Gabor Szabo,
Curtis Mayfield,
Rakim,
Jesper Dahlbäck,
Make Up,
Boogie Down Productions,
Rufus Thomas,
Urselle,
Major Organ And The Adding Machine,
Minor Threat,
Fear,
Rahsaan Roland Kirk,
Los Fastidios,
Jeff Lynne,
Michelle Simonal,
The Fortunes,
Manfred Mann's Earth Band,
Jeru the Damaja,
Nik Kershaw,
The Real Kids,
Silicon Teens,
Pole,
Hoover,
Graham Central Station,
Angry Samoans,
Average White Band,
Gichy Dan,
Soft Cell,
The Offenders,
Severed Heads,
Con Funk Shun,
Roy Ayers,
Arcadia,
Richard Hell and the Voidoids,
Fugazi, Fugazi, Fugazi, Fugazi.
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.