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 Austria and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Bologna and Paris.
I'm losing my edge to the art-school Jakarta 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 snare sounds with much patience.
I was there when Michael McDonald 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 Stiv Bators to the disco kids.
I played it at the Astoria.
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 Q and Not U. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Marcia Griffiths,
Manfred Mann's Earth Band,
Avey Tare,
Public Image Ltd.,
UT,
Roy Ayers Ubiquity,
Grauzone,
Graham Central Station,
Scratch Acid,
Hardrive,
The Monks,
Traffic Nightmare,
Lou Reed & Metallica,
Freddie Wadling,
The Detroit Cobras,
Bootsy's Rubber Band,
Roxy Music,
Alton Ellis,
H. Thieme,
Desert Stars,
Lucky Dragons,
Pulsallama,
Marvin Gaye,
The Men They Couldn't Hang,
Oneida,
Funky Four + One,
The Black Dice,
Average White Band,
The Toasters,
The United States of America,
Josef K,
Isaac Hayes,
The Red Krayola,
Echo & the Bunnymen,
Crispian St. Peters,
Terry Callier,
World's Most,
Duran Duran,
A Certain Ratio,
John Cale,
Sun City Girls,
Whodini,
Tim Buckley,
Jerry Gold Smith,
The Pop Group,
Scion,
The Motions,
Nick Fraelich,
The Happenings,
Nation of Ulysses,
Joe Finger,
Siouxsie and the Banshees,
Jerry's Kids,
Aswad,
Connie Case,
Eric Copeland,
R.M.O.,
Amon Düül,
Country Teasers,
Saccharine Trust,
The New Christs,
Interpol, Interpol, Interpol, Interpol.
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.