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 Kosovo and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1976.
I'm losing my edge.
To all the kids in Cairo and Calgary.
I'm losing my edge to the art-school Houston 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 spring reverb 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 Cameo to the punk 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum 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 synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
X-Ray Spex,
Jeff Mills,
The Saints,
The Red Krayola,
Model 500,
The Kinks,
The Techniques,
The Pretty Things,
Symarip,
Motorama,
Pierre Henry,
Joensuu 1685,
Sugar Minott,
Dennis Brown,
Terrestrial Tones,
The Motions,
Avey Tare & Kría Brekkan,
Toni Rubio,
Moss Icon,
Liliput,
Lonnie Liston Smith,
the Soft Cell,
Bizarre Inc.,
Kas Product,
It's A Beautiful Day,
Jesper Dahlbäck,
Lou Reed,
Mark Hollis,
Magazine,
The Pop Group,
Audionom,
The Dave Clark Five,
Tres Demented,
Lindisfarne,
Notorious Big And Bone Thugs,
Kenny Larkin,
Cameo,
Agitation Free,
Johnny Osbourne,
The Names,
Pole,
Arab on Radar,
Nation of Ulysses,
In Retrospect,
The Young Rascals,
Sarah Menescal,
Ten City,
Boredoms,
Girls At Our Best!,
Joe Finger,
The Blackbyrds,
Suburban Knight,
Grandmaster Flash and the Furious Five,
Excepter,
Lebanon Hanover,
Cymande,
Peter & Gordon,
Max Romeo,
Wasted Youth,
Fela Kuti,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.