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 France and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Lagos 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Eric B and Rakim to the rap kids.
I played it at the Hacienda.
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 Nirvana. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Absolute Body Control 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
The Red Krayola,
Eric B and Rakim,
Ash Ra Tempel,
Harpers Bizarre,
Bush Tetras,
Don Cherry,
Aswad,
Matthew Bourne,
Bang On A Can,
The Gap Band,
Motorama,
Laurel Aitken,
Loose Ends,
The Jesus and Mary Chain,
Gregory Isaacs,
Pulsallama,
The Golliwogs,
Wighnomy Brothers & Robag Wruhme,
Jeru the Damaja,
K-Klass,
Frankie Knuckles,
Das Ding,
The Tremeloes,
Drexciya,
Brick,
Spandau Ballet,
The Searchers,
Ultravox,
Neu!,
The Remains,
JFA,
The Barracudas,
Kerri Chandler,
Gabor Szabo,
Thinking Fellers Union Local 282,
It's A Beautiful Day,
Dave Gahan,
The Pretty Things,
Mo-Dettes,
Amon Düül,
Bang on a Can All-Stars,
Swell Maps,
Scan 7,
Sticky Fingaz feat. Raekwon,
Silicon Teens,
The Zeros,
David Axelrod,
Red Lorry Yellow Lorry,
Flamin' Groovies,
Eric Copeland,
The Move,
Sonic Youth,
Ten City,
Thompson Twins,
T.S.O.L.,
The Five Americans,
Terrestrial Tones,
China Crisis,
Parry Music,
Derrick May,
The Toasters,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.