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 Egypt and from Portland.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 a-ha to the crunk kids.
I played it at the Roxy.
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 Grass Roots. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
The Pop Group,
Carl Craig,
Gil Scott-Heron & Brian Jackson,
Man Parrish,
UT,
Chris & Cosey,
Chris Corsano,
Lee Hazlewood,
John Cale,
The Birthday Party,
Davy DMX,
Louis and Bebe Barron,
The Neon Judgement,
Eric Dolphy,
Ten City,
John Coltrane,
Tubeway Army,
Sight & Sound,
The Men They Couldn't Hang,
DNA,
Soul Sonic Force,
Technova,
Gary Puckett & The Union Gap,
Zapp,
Hashim,
Traffic Nightmare,
The Fire Engines,
Thompson Twins,
Pulsallama,
New Order,
The Remains,
The Raincoats,
Albert Ayler,
Eve St. Jones,
Eric Copeland,
Visage,
The Mummies,
Morten Harket,
ABBA,
Gang Gang Dance,
JFA,
Adolescents,
10cc,
Warren Ellis,
Cabaret Voltaire,
Lower 48,
Sun City Girls,
Robert Görl,
Archie Shepp,
Darondo,
Oppenheimer Analysis,
Second Layer,
Motorama,
Bill Near,
Ohio Players,
John Foxx,
Sticky Fingaz feat. Raekwon,
Chrome,
the Sonics,
Dave Gahan,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.