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 Suriname and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Delhi 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 güiro 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 Television Personalities to the rap kids.
I played it at the 40 Watt.
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 The Cramps. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Invisible 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 '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Gil Scott-Heron and Jamie xx,
Alphaville,
Barry Ungar,
The Divine Comedy,
The Gun Club,
Michelle Simonal,
Magazine,
La Düsseldorf,
Tubeway Army,
Moebius,
Deutsch Amerikanische Freundschaft,
Mary Jane Girls,
N.O.R.E. Featuring Pharrell,
Camouflage,
Röyhkä ja Rättö ja Lehtisalo,
Mo-Dettes,
The Electric Prunes,
Minutemen,
10cc,
the Slits,
Altered Images,
Von Mondo,
Boredoms,
Al Stewart,
Fifty Foot Hose,
Excepter,
Neu!,
U.S. Maple,
Josef K,
Gang of Four,
De La Soul & Jungle Brothers,
Porter Ricks,
James Chance & The Contortions,
Larry & the Blue Notes,
the Normal,
H. Thieme,
Drive Like Jehu,
Joy Division,
Marvin Gaye,
Cluster,
Gil Scott-Heron & Brian Jackson,
Albert Ayler,
the Human League,
Brick,
Johnny Clarke,
cv313,
Au Pairs,
Crooked Eye,
The Beau Brummels,
Lizzy Mercier Descloux,
Franke,
Easy Going,
Mad Mike,
Gil Scott Heron,
Jandek,
Echospace,
Amon Düül II,
The Motions,
Monolake,
This Heat, This Heat, This Heat, This Heat.
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.