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 Seychelles and from Salvador.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Calgary 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 spring reverb 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 Bluetip to the funk kids.
I played it at the Hacienda.
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 Motions. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Public Image Ltd. 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 '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Buzzcocks,
Panda Bear,
Peter & Gordon,
The Jesus and Mary Chain,
Cluster,
L. Decosne,
Crooked Eye,
Eurythmics,
Eric Dolphy,
The Durutti Column,
Gian Franco Pienzio,
Glenn Branca,
Rapeman,
Fugazi,
Juan Atkins,
Bizarre Inc.,
Danielle Patucci,
D'Angelo,
Nation of Ulysses,
Amazonics,
The Slits,
The Seeds,
X-Ray Spex,
The Velvet Underground,
Black Sheep,
Arab on Radar,
The Leaves,
Minor Threat,
Los Fastidios,
The Fire Engines,
PIL,
Lakeside,
MDC,
Liaisons Dangereuses,
Quadrant,
Gil Scott Heron,
The Flesh Eaters,
Soulsonic Force,
The New Christs,
Bang On A Can,
Jeru the Damaja,
Black Bananas,
F. McDonald,
Lower 48,
The Zeros,
Stiv Bators,
Electric Prunes,
Funky Four + One,
Japan,
Avey Tare's Slasher Flicks,
Animal Collective,
Terror Squad Feat. Camron,
Connie Case,
June Days,
Mad Mike,
Scrapy,
The Human League,
Saccharine Trust,
Stetsasonic,
Marmalade,
Nico, Nico, Nico, Nico.
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.