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 Tuvalu and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1975.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Franke to the jazz kids.
I played it at the 40 Watt.
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 Sandy B. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Young Rascals,
Scratch Acid,
The Beau Brummels,
The Toasters,
Black Moon,
Animal Collective,
Model 500,
Hot Snakes,
Bob Dylan,
Bobby Hutcherson,
The Offenders,
The Raincoats,
Aural Exciters,
Spandau Ballet,
The Neon Judgement,
Sällskapet,
Q and Not U,
Siouxsie and the Banshees,
Slave,
Eric Copeland,
A Flock of Seagulls,
Organ,
Newcleus,
Boz Scaggs,
The Move,
Surgeon,
Vaughan Mason & Crew,
The Shadows of Knight,
Tres Demented,
Radiohead,
Joyce Sims,
Crime,
B.T. Express,
New Order,
L. Decosne,
Todd Terry,
Nas,
Chris Corsano,
Moby Grape,
Pet Shop Boys,
John Holt,
Sexual Harrassment,
The Zeros,
Masters at Work,
Moebius,
Captain Beefheart & His Magic Band,
LL Cool J,
Negative Approach,
Neil Young & Crazy Horse,
Radiopuhelimet,
Joe Smooth,
Kool G Rap & DJ Polo,
Dawn Penn,
K-Klass,
D'Angelo,
Rosa Yemen,
Nik Kershaw,
Don Cherry,
Nick Cave & The Bad Seeds,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.