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 Uruguay and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1967 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Cluster to the rap kids.
I played it at Cafe Wha.
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 Liaisons Dangereuses. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Nils Olav,
Barry Ungar,
Pylon,
Blancmange,
the Germs,
Shuggie Otis,
MC5,
the Sonics,
Eric Copeland,
Frankie Knuckles,
Oneida,
Archie Shepp,
Essential Logic,
Flash Fearless,
Tears for Fears,
Mo-Dettes,
Kevin Saunderson,
The Happenings,
Masters at Work,
Black Flag,
June Days,
Quantec,
Mission of Burma,
Gang Gang Dance,
Todd Rundgren,
Röyhkä ja Rättö ja Lehtisalo,
Lalann,
Mr. Review,
Be Bop Deluxe,
Major Organ And The Adding Machine,
Idris Muhammad,
Gabor Szabo,
Bill Near,
Yazoo,
Colin Newman,
Boredoms,
Simply Red,
John Cale,
Louis and Bebe Barron,
Stereo Dub,
Rosa Yemen,
The Mojo Men,
Avey Tare & Kría Brekkan,
The Leaves,
Ponytail,
Pharaoh Sanders and the Fire Engines,
One Last Wish,
Glambeats Corp.,
Eli Mardock,
Chris Corsano,
Rod Modell,
Visage,
Television,
The Raincoats,
Mantronix,
48th St. Collective,
Graham Central Station,
Bush Tetras,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.