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 Tajikistan and from Tokyo.
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 1961 to 1975.
I'm losing my edge.
To all the kids in London and London.
I'm losing my edge to the art-school Tehran 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Eden Ahbez to the rap 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 Subhumans. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Sonny Sharrock 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 '90s.
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 Techniques record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
The Evens,
The Gories,
The Sound,
Erasure,
Whodini,
Rakim,
Kevin Saunderson,
The Fire Engines,
Maurizio,
the Germs,
Oppenheimer Analysis,
Interpol,
The Stooges,
Joey Negro,
Unrelated Segments,
Rhythm & Sound,
The Angels of Light,
Zapp,
Severed Heads,
Avey Tare's Slasher Flicks,
Iggy Pop,
Roxette,
Tears for Fears,
The Busters,
The Gap Band,
Talk Talk,
DNA,
John Lydon,
The Toasters,
Teenage Jesus and the Jerks,
Qualms,
T. Rex,
The Count Five,
The Divine Comedy,
The Jesus and Mary Chain,
The Skatalites,
Cheater Slicks,
Ronan,
Anakelly,
Byron Stingily,
Adolescents,
Ultravox,
Yazoo,
Vainqueur,
The United States of America,
The Electric Prunes,
Rotary Connection,
Chris Corsano,
Bill Near,
The Remains,
Jandek,
Althea and Donna,
Bobby Sherman,
Khruangbin,
Arthur Verocai,
The Detroit Cobras,
Super Lover Cee & Casanova Rud,
Procol Harum,
Sister Nancy,
Larry & the Blue Notes,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.