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 Turkey and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Lagos 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Stiv Bators to the crunk 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 Robert Hood. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Fifty Foot Hose,
Janne Schatter,
The Techniques,
Inner City,
Amazonics,
Super Lover Cee & Casanova Rud,
Bobby Hutcherson,
Matthew Halsall,
Fort Wilson Riot,
Erykah Badu,
Deadbeat,
Oppenheimer Analysis,
Banda Bassotti,
The Kinks,
Sexual Harrassment,
Pole,
Susan Cadogan,
Frankie Knuckles,
Flamin' Groovies,
Little Man,
Brick,
Black Pus,
Hardrive,
The Move,
Gang Gang Dance,
the Normal,
Boogie Down Productions,
Funky Four + One,
The Cosmic Jokers,
Rekid,
The Men They Couldn't Hang,
Simply Red,
Gang Green,
Groovy Waters,
The Monks,
Albert Ayler,
Lou Reed & Metallica,
Prince Buster,
The Golliwogs,
Morten Harket,
Beasts of Bourbon,
Soulsonic Force,
Orchestral Manoeuvres in the Dark,
Subhumans,
Visage,
the Sonics,
La Düsseldorf,
Rahsaan Roland Kirk,
Barrington Levy,
China Crisis,
Ponytail,
Pagans,
Sex Pistols,
A Certain Ratio,
Avey Tare & Kría Brekkan,
Jerry Gold Smith,
Theoretical Girls,
Aloha Tigers,
Pylon, Pylon, Pylon, Pylon.
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.