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 Cameroon and from Glasgow.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Houston 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Sarah Menescal 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 Maurizio. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
David Axelrod,
The Grass Roots,
Electric Light Orchestra,
David McCallum,
The Slits,
Los Fastidios,
Ajijia Myrayebe,
The West Coast Pop Art Experimental Band,
Leonard Cohen,
The Dirtbombs,
The New Christs,
The American Breed,
Procol Harum,
DJ Style,
Trumans Water,
Alton Ellis,
The Zeros,
Essential Logic,
Oblivians,
New Age Steppers,
Sticky Fingaz feat. Raekwon,
Danielle Patucci,
Janne Schatter,
Buzzcocks,
Quantec,
Man Parrish,
Pole,
Public Image Ltd.,
Sun Ra Arkestra,
Bauhaus,
Morten Harket,
Scott Walker + Sunn O))),
Basic Channel,
Pierre Henry,
Lucky Dragons,
Max Romeo,
The Sonics,
Lakeside,
Underground Resistance,
Country Joe & The Fish,
Marine Girls,
T.S.O.L.,
Sex Pistols,
Captain Beefheart & His Magic Band,
Duran Duran,
John Holt,
The Stooges,
Donny Hathaway,
Rufus Thomas,
Kerrie Biddell,
Gabor Szabo,
Black Bananas,
Art Ensemble Of Chicago,
Depeche Mode,
Eric Copeland,
R.M.O.,
Simply Red,
Index,
Pete Rock & C.L. Smooth,
Yellowson,
Reagan Youth,
Laurel Aitken,
Tommy Roe,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.