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 Luxembourg and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Lille 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 The Cramps to the disco kids.
I played it at the Troubador.
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 June Days. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Lou Christie 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Loose Ends,
Pierre Henry,
Boredoms,
Make Up,
Marmalade,
Joyce Sims,
Lonnie Liston Smith,
Moby Grape,
Mantronix,
The Dave Clark Five,
Arab on Radar,
Cameo,
The Motions,
Depeche Mode,
The Doors,
Crooked Eye,
Peter and Kerry,
Johnny Osbourne,
The Fire Engines,
Simply Red,
the Association,
The Human League,
Selector Dub Narcotic,
Symarip,
Arcadia,
Pharoah Sanders,
Erasure,
Be Bop Deluxe,
Slick Rick,
The Seeds,
Supertramp,
X-102,
Ponytail,
48th St. Collective,
James White and The Blacks,
Sparks,
Barrington Levy,
Pantytec,
Wally Richardson,
Circle Jerks,
Danielle Patucci,
Sight & Sound,
Eurythmics,
The Gun Club,
Dorothy Ashby,
Stockholm Monsters,
Sticky Fingaz feat. Raekwon,
The Cowsills,
Ash Ra Tempel,
Mandrill,
Brass Construction,
Junior Murvin,
Von Mondo,
Mary Jane Girls,
Pylon,
Fela Kuti,
Rhythm & Sound,
The Fuzztones,
Jerry's Kids,
Leonard Cohen,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.