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 Burkina and from London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lille and Shanghai.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 Ultramagnetic MC's to the funk 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 Lakeside. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Barrington Levy,
Gerry Rafferty,
Sarah Menescal,
the Soft Cell,
Quadrant,
Strawberry Alarm Clock,
Public Image Ltd.,
The Happenings,
48th St. Collective,
The Skatalites,
the Association,
Orchestral Manoeuvres in the Dark,
Alice Coltrane,
X-101,
The Mighty Diamonds,
Swell Maps,
Popol Vuh,
Barry Ungar,
The Durutti Column,
Sugar Minott,
Fat Boys,
Nick Cave & The Bad Seeds,
Erasure,
The Smiths,
Pole,
PIL,
Ornette Coleman,
Unrelated Segments,
Moebius,
Tubeway Army,
FM Einheit,
Desert Stars,
Marcia Griffiths,
MC5,
Derrick Morgan,
Eden Ahbez,
The Invisible,
Flash Fearless,
June Days,
Black Bananas,
Mr. Review,
Yellowson,
Hot Snakes,
Cybotron,
Robert Hood,
Wire,
H. Thieme,
Wasted Youth,
The Dave Clark Five,
The Techniques,
Dual Sessions,
Boz Scaggs,
Bobby Womack,
MDC,
Be Bop Deluxe,
Crispy Ambulance,
Flipper,
Accadde A,
Avey Tare & Kría Brekkan,
Pharaoh Sanders and the Fire Engines,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.