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 Iran and from Lille.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Spokane 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 David Axelrod to the crunk 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 Brick. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every The Sound 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
The Gap Band,
The Smoke,
Loose Ends,
Thinking Fellers Union Local 282,
Dave Gahan,
L. Decosne,
Lightning Bolt,
Ludus,
Joe Smooth,
The Blackbyrds,
Easy Going,
Minnie Riperton,
Judy Mowatt,
The Tremeloes,
Gil Scott-Heron & Brian Jackson,
Blake Baxter,
B.T. Express,
Lafayette Afro Rock Band,
Unrelated Segments,
Lizzy Mercier Descloux,
Blancmange,
Röyhkä ja Rättö ja Lehtisalo,
The Techniques,
Basic Channel,
the Fania All-Stars,
Royal Trux,
Sun City Girls,
Cecil Taylor,
Henry Cow,
Little Man,
Wasted Youth,
Toni Rubio,
Lalo Schifrin,
These Immortal Souls,
Oneida,
Schoolly D,
Siouxsie and the Banshees,
Al Stewart,
Shoche,
X-101,
Camouflage,
Byron Stingily,
Bluetip,
Marine Girls,
Soul II Soul,
Bob Dylan,
Outsiders,
The Fugs,
Lou Christie,
Anthony Braxton,
MC5,
La Düsseldorf,
Kayak,
Theoretical Girls,
Chris Corsano,
Kool Moe Dee,
Pagans,
Josef K,
Mr. Review,
Dead Boys,
The Last Poets,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.