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 Czech Republic and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Milan 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Soulsonic Force to the dance kids.
I played it at the Astoria.
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 Detroit Cobras. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Rod Modell 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Lucky Dragons,
Richard Hell and the Voidoids,
Michelle Simonal,
Khruangbin,
the Fania All-Stars,
Marshall Jefferson,
Jesper Dahlback,
June of 44,
Flipper,
Loose Ends,
Simply Red,
Pet Shop Boys,
Maurizio,
Barrington Levy,
Sixth Finger,
Skarface,
The Martian,
The Slits,
Youth Brigade,
Ultravox,
Marine Girls,
Sonic Youth,
China Crisis,
The Index,
Rosa Yemen,
Los Fastidios,
Kayak,
The Leaves,
Altered Images,
Reagan Youth,
Liaisons Dangereuses,
Tubeway Army,
Bill Near,
Eddi Front,
the Bar-Kays,
Roy Ayers Ubiquity,
The Searchers,
Yaz,
Joensuu 1685,
Gang Starr,
Gang Gang Dance,
Scion,
Echo & the Bunnymen,
Bobby Byrd,
Niagra,
Darondo,
Sound Behaviour,
Erasure,
Agent Orange,
Harmonia,
The Modern Lovers,
The Dave Clark Five,
Sad Lovers and Giants,
Nick Cave & The Bad Seeds,
Jerry's Kids,
Accadde A,
David Axelrod,
Subhumans,
Sam Rivers,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.