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 Mozambique and from Shanghai.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Lagos 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Sister Nancy to the techno kids.
I played it at the Spitz.
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 Brass Construction. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
World's Most,
The Walker Brothers,
Can,
Kango’s Stein Massive,
Alice Coltrane,
Scratch Acid,
Oppenheimer Analysis,
The Slits,
Blossom Toes,
Notorious Big And Bone Thugs,
Sexual Harrassment,
Faraquet,
Piero Umiliani,
June Days,
Rakim,
Siouxsie and the Banshees,
Bobby Byrd,
David Axelrod,
The Sound,
Leonard Cohen,
Popol Vuh,
Hasil Adkins,
Thinking Fellers Union Local 282,
Visionaries,LMNO, T- Love & Iriscience,
Ronan,
Suicide,
Boogie Down Productions,
Bang on a Can All-Stars,
Janne Schatter,
Heaven 17,
Sight & Sound,
The Invisible,
Thompson Twins,
Nils Olav,
Roger Hodgson,
L. Decosne,
Rahsaan Roland Kirk,
Moby Grape,
Eric Dolphy,
The Durutti Column,
Tropical Tobacco,
Scientists,
The Motions,
Radiohead,
Thee Headcoats,
EPMD,
Marcia Griffiths,
The Peanut Butter Conspiracy,
Ituana,
Cabaret Voltaire,
Hoover,
Ice-T,
Skriet,
Pylon,
OOIOO,
Bang On A Can,
Bauhaus,
Section 25,
Sam Rivers,
Qualms,
One Last Wish,
Marmalade,
Connie Case, Connie Case, Connie Case, Connie Case.
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.