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 Kyrgyzstan and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Spokane 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 808 sounds with much patience.
I was there when Michael McDonald 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 Howard Jones to the techno kids.
I played it at the Crocodile.
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 Germs. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Soul Sonic Force 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
a-ha,
ABC,
Ajijia Myrayebe,
The Slackers,
The Cowsills,
Pole,
Ralphi Rosario,
In Retrospect,
Liliput,
the Soft Cell,
Barbara Tucker,
Sly & The Family Stone,
Deadbeat,
Flipper,
Pere Ubu,
Big Daddy Kane,
Bill Near,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Johnny Osbourne,
Fifty Foot Hose,
Louis and Bebe Barron,
Derrick May,
Reuben Wilson,
Rites of Spring,
Absolute Body Control,
Mary Jane Girls,
Massinfluence,
Tubeway Army,
Basic Channel,
Bad Manners,
Scan 7,
Mars,
Q65,
Piero Umiliani,
Underground Resistance,
Oppenheimer Analysis,
The Standells,
Adolescents,
MDC,
Chris & Cosey,
The Music Machine,
Funkadelic,
Rahsaan Roland Kirk,
Arab on Radar,
48th St. Collective,
AZ,
Alison Limerick,
The Men They Couldn't Hang,
Black Flag,
Marshall Jefferson,
PIL,
Robert Görl,
Groovy Waters,
Visage,
Lizzy Mercier Descloux,
Fat Boys,
Kerrie Biddell,
Rod Modell,
Rapeman,
Cybotron,
Stiv Bators,
The Chocolate Watch Band,
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.