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 Mauritania and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1970.
I'm losing my edge.
To all the kids in Lyon and Columbus.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Black Flag to the techno 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 Echospace. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every The United States of America 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Procol Harum,
The Tremeloes,
Hashim,
Pet Shop Boys,
Brand Nubian,
Vainqueur,
Bootsy's Rubber Band,
Icehouse,
Lou Reed & John Cale,
Howard Jones,
Interpol,
B.T. Express,
the Fania All-Stars,
Subhumans,
Peter and Kerry,
Mad Mike,
Lungfish,
Royal Trux,
Eric Copeland,
Stiv Bators,
Deadbeat,
The Alarm Clocks,
Eddi Front,
Gregory Isaacs,
Jeru the Damaja,
Zapp,
The Moody Blues,
The Fall,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dorothy Ashby,
Kango’s Stein Massive,
Andrew Hill,
The Modern Lovers,
Derrick Morgan,
June of 44,
Motorama,
The Smiths,
Junior Murvin,
Amon Düül,
Frankie Knuckles,
Major Organ And The Adding Machine,
Sexual Harrassment,
Underground Resistance,
Schoolly D,
Rakim,
Dave Gahan,
Crispian St. Peters,
The Dead C,
Robert Wyatt,
Boredoms,
DJ Style,
Thinking Fellers Union Local 282,
The Count Five,
The Dirtbombs,
Lightning Bolt,
Super Lover Cee & Casanova Rud,
Fort Wilson Riot,
Avey Tare's Slasher Flicks,
The Victims, The Victims, The Victims, The Victims.
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.