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 Gambia and from New York.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Pierre Henry to the electroclash kids.
I played it at CBGB's.
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 Moss Icon. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Alison Limerick 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
The Searchers,
The Vogues,
Eurythmics,
Lizzy Mercier Descloux,
Kool G Rap & DJ Polo,
Gang Starr,
The Happenings,
Ajijia Myrayebe,
Adolescents,
Johnny Clarke,
Jerry's Kids,
Harry Pussy,
The Jesus and Mary Chain,
Jawbox,
Black Pus,
Chrome,
Electric Light Orchestra,
A Flock of Seagulls,
The Peanut Butter Conspiracy,
Lightning Bolt,
Graham Central Station,
Ice-T,
Lou Reed & John Cale,
Brass Construction,
Qualms,
Dead Boys,
Terror Squad Feat. Camron,
Strawberry Alarm Clock,
Roxette,
Harmonia,
Dave Gahan,
Joy Division,
Youth Brigade,
Tubeway Army,
Sly & The Family Stone,
Fluxion,
Marvin Gaye,
Little Man,
The Martian,
The Doors,
Crime,
Lower 48,
Altered Images,
Shoche,
The Names,
It's A Beautiful Day,
Captain Beefheart & His Magic Band,
JFA,
The Wake,
David McCallum,
Peter Gordon & Love of Life Orchestra,
Ronnie Foster,
EPMD,
The Knickerbockers,
The Electric Prunes,
Gerry Rafferty,
Minor Threat,
Ken Boothe,
June of 44,
Bootsy Collins,
Deepchord,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.