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 Sudan and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1970.
I'm losing my edge.
To all the kids in Delhi and Calgary.
I'm losing my edge to the art-school Bremen 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 chamberlin 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 Cheater Slicks to the crunk kids.
I played it at the 40 Watt.
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 Charles Mingus. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Siouxsie and the Banshees,
Brothers Johnson,
10cc,
Ohio Players,
Ultramagnetic MC's,
Black Bananas,
Neil Young,
Essential Logic,
Jacob Miller,
One Last Wish,
Gary Puckett & The Union Gap,
Pagans,
R.M.O.,
Rekid,
Whodini,
Saccharine Trust,
Technova,
ABBA,
Ornette Coleman,
Kings Of Tomorrow,
Arthur Verocai,
The Count Five,
Section 25,
Bluetip,
Wire,
Lee Hazlewood,
U.S. Maple,
Darondo,
T.S.O.L.,
Barbara Tucker,
Derrick May,
Can,
James White and The Blacks,
Roxette,
Minutemen,
Audionom,
Chrome,
The Star Department,
The Fugs,
Lyres,
Stockholm Monsters,
Wally Richardson,
Connie Case,
The Slackers,
The Tremeloes,
Jerry's Kids,
Kurtis Blow,
Mr. Review,
Grandmaster Flash and the Furious Five,
Intrusion,
Brass Construction,
The Flesh Eaters,
Rufus Thomas,
Yusef Lateef,
Livin' Joy,
Nick Fraelich,
Black Flag,
Scott Walker,
Quantec,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.