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 Malawi and from Mexico City.
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 1963 to 1972.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Alison Limerick to the crunk kids.
I played it at the Spitz.
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 The Motions. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
La Düsseldorf,
Robert Görl,
Flash Fearless,
Neil Young,
Kaleidoscope,
UT,
Silicon Teens,
Ten City,
Yazoo,
Orchestral Manoeuvres in the Dark,
Model 500,
MDC,
Howard Jones,
10cc,
Sun City Girls,
Ituana,
Frankie Knuckles,
Maleditus Sound,
Man Eating Sloth,
Avey Tare & Kría Brekkan,
Basic Channel,
Bobby Byrd,
The United States of America,
The Mighty Diamonds,
Rosa Yemen,
Joey Negro,
Public Enemy,
the Slits,
Matthew Halsall,
June Days,
The Sisters of Mercy,
Half Japanese,
Siouxsie and the Banshees,
The Tremeloes,
Terry Callier,
Harpers Bizarre,
Duran Duran,
Sad Lovers and Giants,
The Star Department,
Leonard Cohen,
Circle Jerks,
DNA,
Swans,
Dave Gahan,
Mary Jane Girls,
The Modern Lovers,
E-Dancer,
Eli Mardock,
Inner City,
Kayak,
Sonic Youth,
Pharaoh Sanders and the Fire Engines,
Bobbi Humphrey,
The Monks,
Kas Product,
Vladislav Delay,
Blake Baxter,
Minutemen,
De La Soul & Jungle Brothers,
Aloha Tigers,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.