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 Kazakhstan and from Tokyo.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 New York Dolls to the grime 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 L. Decosne. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Mark Hollis,
The Star Department,
Angels of Light & Akron/Family,
Notorious Big And Bone Thugs,
Jesper Dahlback,
Judy Mowatt,
Quando Quango,
Maurizio,
Archie Shepp,
Interpol,
Slick Rick,
8 Eyed Spy,
Rhythim Is Rhythim,
Quadrant,
Shoche,
Porter Ricks,
Suburban Knight,
Moebius,
Grandmaster Flash and the Furious Five,
T.S.O.L.,
Scratch Acid,
Bobby Sherman,
The New Christs,
The Human League,
Johnny Osbourne,
Lalann,
Hardrive,
Radiopuhelimet,
Albert Ayler,
Organ,
Röyhkä ja Rättö ja Lehtisalo,
Idris Muhammad,
Aswad,
John Foxx,
Sister Nancy,
Scion,
Leonard Cohen,
Pagans,
Khruangbin,
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
Dead Boys,
CMW,
Bad Manners,
Unrelated Segments,
Art Ensemble Of Chicago,
Goldenarms,
Kool Moe Dee,
James Chance & The Contortions,
The Sound,
Lebanon Hanover,
Roxette,
John Cale,
Neil Young & Crazy Horse,
Pantaleimon,
Grandmaster Flash,
David Bowie,
Kas Product,
Cluster,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.