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 Estonia and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Paris 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 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 Archie Shepp to the grime kids.
I played it at the Spitz.
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 Sonny Sharrock. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Tears for Fears 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
L. Decosne,
Spandau Ballet,
Rapeman,
Second Layer,
Ice-T,
Dual Sessions,
Larry & the Blue Notes,
The Alarm Clocks,
The Raincoats,
Nation of Ulysses,
ABBA,
Excepter,
Avey Tare & Kría Brekkan,
Eve St. Jones,
Sparks,
Electric Prunes,
Sällskapet,
Grandmaster Flash and the Furious Five,
Avey Tare's Slasher Flicks,
Kevin Saunderson,
Lou Christie,
Wire,
Eden Ahbez,
The Mighty Diamonds,
Von Mondo,
Bobby Womack,
Theoretical Girls,
The Flesh Eaters,
Gastr Del Sol,
Dave Gahan,
Black Bananas,
Major Organ And The Adding Machine,
Wolf Eyes,
Porter Ricks,
Strawberry Alarm Clock,
It's A Beautiful Day,
Maleditus Sound,
This Heat,
Tom Boy,
Quadrant,
Sun Ra,
Kas Product,
Angry Samoans,
The Walker Brothers,
These Immortal Souls,
Television,
Lonnie Liston Smith,
DNA,
Rites of Spring,
The Trojans,
Heavy D & The Boyz,
London Community Gospel Choir,
The Selecter,
The Real Kids,
The Red Krayola,
Flipper,
Dennis Brown,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.