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 Angola and from New York.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Madrid 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 marimba 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 Josef K 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 Moebius. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Essential Logic,
Sight & Sound,
Icehouse,
Eric Copeland,
JFA,
The Gap Band,
The Alarm Clocks,
Technova,
Teenage Jesus and the Jerks,
Liliput,
F. McDonald,
Sällskapet,
Manfred Mann's Earth Band,
Scott Walker,
Pete Rock & C.L. Smooth,
Camron Feat. Memphis Bleek And Beenie Seigel,
June of 44,
Rowland S Howard / Lydia Lunch,
Sugar Minott,
Tom Boy,
Pole,
Spandau Ballet,
The Zeros,
MDC,
Ken Boothe,
Crispian St. Peters,
Bronski Beat,
Ossler,
Scratch Acid,
Althea and Donna,
Au Pairs,
Fifty Foot Hose,
Siglo XX,
The Evens,
Jawbox,
D'Angelo,
John Holt,
Lou Christie,
Vladislav Delay,
T.S.O.L.,
Pulsallama,
The Fugs,
New Order,
Second Layer,
Funky Four + One,
Todd Rundgren,
Dual Sessions,
Skriet,
Lungfish,
the Normal,
Q65,
Simply Red,
The Happenings,
The Dirtbombs,
Aswad,
Crime,
Soft Cell,
KRS-One,
EPMD,
Radiohead,
Neil Young & Crazy Horse,
The Divine Comedy,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.