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 Haiti and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lille and Lyon.
I'm losing my edge to the art-school Salvador 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar 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 The Blackbyrds to the jazz kids.
I played it at the Spitz.
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 Pole. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Stockholm Monsters,
Larry & the Blue Notes,
the Fania All-Stars,
Stereo Dub,
Amon Düül,
Sam Rivers,
Tubeway Army,
Siglo XX,
Nick Fraelich,
Radio Birdman,
Matthew Halsall,
Tres Demented,
The Angels of Light,
Organ,
One Last Wish,
Jeff Lynne,
The Velvet Underground,
Wolf Eyes,
Aswad,
The Knickerbockers,
Interpol,
8 Eyed Spy,
Warren Ellis,
Young Marble Giants,
Crispian St. Peters,
The Saints,
Infiniti,
Mo-Dettes,
Newcleus,
Whodini,
the Soft Cell,
AZ,
Art Ensemble Of Chicago,
Ultravox,
Terrestrial Tones,
Slick Rick,
The Zeros,
48th St. Collective,
Ralphi Rosario,
Sly & The Family Stone,
Rotary Connection,
Malaria!,
K-Klass,
PIL,
Max Romeo,
Supertramp,
The Mojo Men,
David Axelrod,
The Young Rascals,
Beasts of Bourbon,
Godley & Creme,
Brand Nubian,
Colin Newman,
The Victims,
Shuggie Otis,
Steve Hackett,
Metal Thangz,
Lee Hazlewood,
Rosa Yemen,
Con Funk Shun,
Ronnie Foster,
Barry Ungar,
The Searchers, The Searchers, The Searchers, The Searchers.
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.