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 Mauritania and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Accra 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 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 Monks to the grime 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 Iggy Pop. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Inner City,
Gong,
Lou Reed & John Cale,
Bobbi Humphrey,
Lafayette Afro Rock Band,
The Motions,
Barrington Levy,
Circle Jerks,
Jacques Brel,
Newcleus,
Fela Kuti,
Oblivians,
A Certain Ratio,
Sun City Girls,
Make Up,
Glambeats Corp.,
Eden Ahbez,
Bang On A Can,
Sad Lovers and Giants,
Accadde A,
Schoolly D,
The Human League,
John Cale,
The Detroit Cobras,
Maurizio,
Silicon Teens,
Interpol,
Peter & Gordon,
Erykah Badu,
Simply Red,
Gerry Rafferty,
Easy Going,
Main Source,
Pulsallama,
The Slackers,
Blossom Toes,
Whodini,
Robert Hood,
The Doobie Brothers,
Laurel Aitken,
Spandau Ballet,
Sister Nancy,
The J.B.'s,
Barry Ungar,
Chris & Cosey,
Camberwell Now,
Manfred Mann's Earth Band,
E-Dancer,
Scratch Acid,
Camouflage,
Pantaleimon,
Deakin,
The Shadows of Knight,
Boredoms,
Joe Finger,
Sex Pistols,
Ralphi Rosario,
Roy Ayers,
Half Japanese,
The Raincoats,
Grandmaster Flash,
Warsaw,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.