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 Dominican Republic and from Johannesburg.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Ohio Players to the grunge 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 Porter Ricks. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
K-Klass,
Negative Approach,
FM Einheit,
Massinfluence,
Marshall Jefferson,
Thee Headcoats,
Rowland S Howard / Lydia Lunch,
Eric Dolphy,
Angry Samoans,
Josef K,
Gong,
48th St. Collective,
Jesper Dahlback,
The Cramps,
Moby Grape,
The Monks,
Wally Richardson,
Minor Threat,
Sonic Youth,
Warsaw,
Skriet,
Half Japanese,
Mo-Dettes,
Pete Rock & C.L. Smooth,
Interpol,
The Standells,
Oppenheimer Analysis,
Boogie Down Productions,
Icehouse,
Groovy Waters,
Fat Boys,
Kings Of Tomorrow,
Bootsy's Rubber Band,
the Human League,
The Last Poets,
The Barracudas,
Robert Görl,
Barclay James Harvest,
Unrelated Segments,
Ten City,
Urselle,
Delta 5,
Al Stewart,
Clear Light,
Sun Ra Arkestra,
The Move,
Pere Ubu,
Sight & Sound,
Strawberry Alarm Clock,
Dr. Dre and Snoop Doggy Dog,
The Jesus and Mary Chain,
Audionom,
Fela Kuti,
Smog,
Vladislav Delay,
Piero Umiliani,
Fluxion,
Johnny Clarke,
The Zeros,
Connie Case,
Soulsonic Force,
Make Up, Make Up, Make Up, Make Up.
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.