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 Suriname and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1964 to 1976.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator 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 Slave to the jazz kids.
I played it at the Roxy.
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 Rosa Yemen. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal techno 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 a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Groovy Waters,
Arthur Verocai,
Silicon Teens,
Smog,
Laurel Aitken,
Rhythim Is Rhythim,
Khruangbin,
Zapp,
La Düsseldorf,
Swans,
PIL,
Depeche Mode,
The Misunderstood,
Alison Limerick,
The Vogues,
World's Most,
The Leaves,
Josef K,
Avey Tare,
Jesper Dahlback,
Skriet,
Drexciya,
Skarface,
The Moody Blues,
Manfred Mann's Earth Band,
Hot Snakes,
The Music Machine,
Lou Christie,
Max Romeo,
Big Daddy Kane,
Wally Richardson,
Roxette,
Mad Mike,
Minor Threat,
Joy Division,
Al Stewart,
The Sound,
EPMD,
Grandmaster Flash,
Red Lorry Yellow Lorry,
The Velvet Underground,
Avey Tare's Slasher Flicks,
The Fuzztones,
The Durutti Column,
The Blackbyrds,
Blancmange,
The Cowsills,
The Pop Group,
Icehouse,
The United States of America,
Bluetip,
Glambeats Corp.,
Tommy Roe,
Sexual Harrassment,
Ludus,
Wings,
Gichy Dan,
Nas,
Negative Approach,
Crash Course in Science,
The Birthday Party,
Pere Ubu,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.