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 Macedonia and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Taipei 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 Thinking Fellers Union Local 282 to the rap 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 Con Funk Shun. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Althea and Donna,
La Düsseldorf,
The Gories,
T. Rex,
Moss Icon,
Lebanon Hanover,
The Fire Engines,
Public Image Ltd.,
Scrapy,
Brothers Johnson,
Fear,
Eric Dolphy,
Dave Gahan,
Kerrie Biddell,
Unwound,
the Swans,
Be Bop Deluxe,
Fluxion,
Mark Hollis,
Archie Shepp,
Jeff Mills,
Leonard Cohen,
Inner City,
Black Bananas,
Unrelated Segments,
Outsiders,
Nas,
Hasil Adkins,
Ten City,
Gastr Del Sol,
UT,
The Victims,
Delon & Dalcan,
Terrestrial Tones,
Ituana,
T.S.O.L.,
DNA,
The Barracudas,
Jandek,
Bob Dylan,
Big Daddy Kane,
The Young Rascals,
Tears for Fears,
Sun Ra Arkestra,
Dawn Penn,
The Blackbyrds,
Minny Pops,
Lou Reed & Metallica,
Eve St. Jones,
The Modern Lovers,
Notorious Big And Bone Thugs,
Rosa Yemen,
Kaleidoscope,
Supertramp,
Toni Rubio,
Joe Smooth,
The Misunderstood,
Aaron Thompson,
Cymande,
Eden Ahbez,
MDC, MDC, MDC, MDC.
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.