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 Israel and from Tokyo.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Bologna 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Bad Manners to the dance 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 The Happenings. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal grime 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 a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Model 500,
Orchestral Manoeuvres in the Dark,
Peter and Kerry,
Section 25,
The Toasters,
In Retrospect,
James White and The Blacks,
Slick Rick,
Technova,
The Names,
Crash Course in Science,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Godley & Creme,
Mad Mike,
Half Japanese,
Beasts of Bourbon,
JFA,
Nick Fraelich,
Outsiders,
Big Daddy Kane,
Aswad,
Janne Schatter,
Sam Rivers,
FM Einheit,
The Sound,
Mo-Dettes,
Fela Kuti,
The Beau Brummels,
The Techniques,
Alison Limerick,
Can,
Liliput,
B.T. Express,
Notorious Big And Bone Thugs,
Gregory Isaacs,
Patti Smith,
The Dirtbombs,
The Gun Club,
Saccharine Trust,
The Misunderstood,
Ponytail,
Howard Jones,
Tomorrow,
Hashim,
Sun Ra,
The Chocolate Watch Band,
Andrew Hill,
Mars,
The Stooges,
John Cale,
Bobbi Humphrey,
Barry Ungar,
Blossom Toes,
Camberwell Now,
Eurythmics,
Richard Hell and the Voidoids,
Boogie Down Productions,
The Cosmic Jokers,
Hardrive,
The Kinks,
The Smoke,
Electric Prunes,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.