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 East Timor and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1977.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Smoke to the dance kids.
I played it at the Astoria.
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 Smiths. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Beasts of Bourbon,
Eric B and Rakim,
Shuggie Otis,
Boz Scaggs,
Pharaoh Sanders and the Fire Engines,
The Fortunes,
Simply Red,
Rapeman,
The Stooges,
Tommy Roe,
Howard Jones,
Strawberry Alarm Clock,
Rufus Thomas,
Barrington Levy,
Fear,
The Invisible,
Mo-Dettes,
Wally Richardson,
Susan Cadogan,
The Sisters of Mercy,
Gang of Four,
Skarface,
Archie Shepp,
Throbbing Gristle,
The Music Machine,
Erasure,
the Normal,
David McCallum,
The Saints,
The Modern Lovers,
Stereo Dub,
Barclay James Harvest,
Zero Boys,
Jacques Brel,
Lungfish,
Monks,
Mad Mike,
Outsiders,
Johnny Osbourne,
MDC,
E-Dancer,
Rhythm & Sound,
The United States of America,
David Bowie,
The Fall,
It's A Beautiful Day,
Lyres,
Oppenheimer Analysis,
Faraquet,
8 Eyed Spy,
The Seeds,
The Grass Roots,
The Gun Club,
Oblivians,
Drive Like Jehu,
Cecil Taylor,
Circle Jerks,
Skaos,
T. Rex,
Dual Sessions,
Tropical Tobacco,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.