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 Vanuatu and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1977.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 The Buckinghams to the rap kids.
I played it at Cafe Wha.
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 Unwound. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Bad Manners 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 a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Mary Jane Girls,
Avey Tare's Slasher Flicks,
The Wake,
Blake Baxter,
Alphaville,
Captain Beefheart & His Magic Band,
the Slits,
Lonnie Liston Smith,
Lalann,
Severed Heads,
Sällskapet,
Soft Cell,
The Misunderstood,
Junior Murvin,
The Index,
Silicon Teens,
Schoolly D,
Sonic Youth,
Cybotron,
The Fall,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
Chrome,
Roxette,
The American Breed,
Ten City,
Mad Mike,
Grandmaster Flash,
a-ha,
Monolake,
The Star Department,
The Names,
Jimmy McGriff,
Nik Kershaw,
The Fortunes,
Pulsallama,
Dorothy Ashby,
F. McDonald,
Max Romeo,
Johnny Osbourne,
Soft Machine,
Arab on Radar,
The Gun Club,
David Axelrod,
Cecil Taylor,
Althea and Donna,
The Saints,
Kool Moe Dee,
Kevin Saunderson,
Kenny Larkin,
Sun Ra,
Brass Construction,
Erasure,
The Velvet Underground,
T.S.O.L.,
Isaac Hayes,
The Divine Comedy,
cv313,
the Normal,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.