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 Nauru and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1974.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Lille 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 güiro 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 Liaisons Dangereuses to the dance kids.
I played it at the Astoria.
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 Terrestrial Tones. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Scrapy 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
the Slits,
Amon Düül II,
The Wake,
Lizzy Mercier Descloux,
Quantec,
Malaria!,
The Peanut Butter Conspiracy,
Duran Duran,
Skaos,
Lou Reed,
Ornette Coleman,
The Royal Family And The Poor,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marcia Griffiths,
Arcadia,
Livin' Joy,
Trumans Water,
Joey Negro,
Major Organ And The Adding Machine,
The Grass Roots,
Urselle,
Tim Buckley,
Nico,
Mars,
Be Bop Deluxe,
Minor Threat,
Barrington Levy,
Roy Ayers Ubiquity,
Ossler,
Freddie Wadling,
The Blues Magoos,
kango's stein massive,
Jeff Mills,
Nik Kershaw,
New Age Steppers,
Letta Mbulu,
The Young Rascals,
Roxy Music,
Röyhkä ja Rättö ja Lehtisalo,
Cybotron,
Godley & Creme,
Joe Smooth,
Swans,
Sixth Finger,
Bill Near,
Sight & Sound,
Adolescents,
Jeru the Damaja,
The Victims,
48th St. Collective,
The Cure,
Yellowson,
Sexual Harrassment,
the Human League,
Scratch Acid,
Moby Grape,
Kayak,
Country Teasers,
Alphaville, Alphaville, Alphaville, Alphaville.
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.