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 Antigua and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Mexico City 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 Donald Fagen 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 The Victims to the electroclash kids.
I played it at the Spitz.
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 Names. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every The Five Americans 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Spandau Ballet,
Gong,
Laurel Aitken,
Richard Hell and the Voidoids,
Boogie Down Productions,
Swell Maps,
Gang Gang Dance,
The Black Dice,
Warsaw,
Maleditus Sound,
Essential Logic,
the Swans,
Swans,
John Lydon,
Average White Band,
Public Image Ltd.,
Outsiders,
Gang of Four,
Franke,
DJ Sneak,
Charles Mingus,
Tomorrow,
Organ,
Art Ensemble Of Chicago,
Bang On A Can,
Rosa Yemen,
This Heat,
The Knickerbockers,
Gary Puckett & The Union Gap,
LL Cool J,
The Index,
PIL,
Cluster,
Yusef Lateef,
Delon & Dalcan,
The Skatalites,
Echo & the Bunnymen,
David Axelrod,
Infiniti,
Big Daddy Kane,
The Fuzztones,
Second Layer,
The Pretty Things,
Los Fastidios,
Scratch Acid,
Eddi Front,
Alison Limerick,
Electric Light Orchestra,
Funky Four + One,
Quando Quango,
Livin' Joy,
OOIOO,
Scott Walker,
Wire,
Heaven 17,
Cecil Taylor,
Hot Snakes,
Michelle Simonal,
Bobby Womack,
Donny Hathaway,
Soulsonic Force,
Qualms, Qualms, Qualms, Qualms.
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.