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 Nicaragua and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Stockholm Monsters to the techno 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 Sister Nancy. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every The J.B.'s 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Eurythmics,
The Shadows of Knight,
Roger Hodgson,
Byron Stingily,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Sexual Harrassment,
Bang On A Can,
The Mighty Diamonds,
Marc Romboy vs. Booka Shade,
Alphaville,
Gil Scott-Heron & Brian Jackson,
Thee Headcoats,
The Alarm Clocks,
Boogie Down Productions,
Gil Scott-Heron and Jamie xx,
Ornette Coleman,
Thinking Fellers Union Local 282,
Frankie Knuckles,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
the Fania All-Stars,
Mark Hollis,
Slick Rick,
Big Daddy Kane,
Major Organ And The Adding Machine,
Aloha Tigers,
Mad Mike,
Shoche,
The Chocolate Watch Band,
Lower 48,
Soul II Soul,
Accadde A,
Jacob Miller,
Sarah Menescal,
Art Ensemble Of Chicago,
Bootsy's Rubber Band,
Infiniti,
Boredoms,
Fear,
Bauhaus,
La Düsseldorf,
Be Bop Deluxe,
MDC,
The Dead C,
DeepChord presents Echospace,
KRS-One,
Basic Channel,
Neu!,
Harpers Bizarre,
Wolf Eyes,
June of 44,
Connie Case,
Eric Copeland,
Ultravox,
Young Marble Giants,
The Mojo Men,
The Five Americans,
Pet Shop Boys,
Black Flag,
Soft Cell,
The Monks,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.