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 Guinea-Bissau and from Edmonton.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Paris 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 Technova to the jazz 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 Piero Umiliani. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Patti Smith,
LL Cool J,
James Chance & The Contortions,
Groovy Waters,
Brick,
Rakim,
Bobby Sherman,
Junior Murvin,
Kerrie Biddell,
Connie Case,
The Buckinghams,
The Saints,
Grandmaster Flash and the Furious Five,
Albert Ayler,
Laurel Aitken,
Panda Bear,
London Community Gospel Choir,
Mad Mike,
Eric Copeland,
Marshall Jefferson,
Pylon,
The Flesh Eaters,
Kenny Larkin,
Rites of Spring,
Joy Division,
Wire,
Kool G Rap & DJ Polo,
The Busters,
Don Cherry,
The Modern Lovers,
Marine Girls,
Loose Ends,
T.S.O.L.,
Notorious BIG live in Amsterdam,
Nas,
Hashim,
Barbara Tucker,
U.S. Maple,
Alton Ellis,
Niagra,
Average White Band,
The Fortunes,
Skarface,
Liaisons Dangereuses,
Bluetip,
the Association,
Cheater Slicks,
The Happenings,
Sixth Finger,
Ice-T,
Blancmange,
Joensuu 1685,
Oblivians,
The J.B.'s,
Juan Atkins,
A Flock of Seagulls,
Moebius,
The Stooges,
Bob Dylan,
Swans,
KRS-One,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.