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 Sri Lanka and from Taipei.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Columbus.
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 oboe 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 Cluster to the crunk kids.
I played it at CBGB's.
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 The Gun Club. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
The Neon Judgement,
Sight & Sound,
Anthony Braxton,
Blancmange,
Freddie Wadling,
Ralphi Rosario,
Main Source,
Danielle Patucci,
Ronan,
David McCallum,
Moss Icon,
Masters at Work,
Nick Cave & The Bad Seeds,
The Fortunes,
Faust,
Soul Sonic Force,
Bill Wells,
Newcleus,
James Chance & The Contortions,
Easy Going,
Wighnomy Brothers & Robag Wruhme,
Red Lorry Yellow Lorry,
Harpers Bizarre,
Swell Maps,
Drexciya,
In Retrospect,
X-102,
Joensuu 1685,
Terry Callier,
X-101,
Q65,
Crime,
Ten City,
Model 500,
Juan Atkins,
Q and Not U,
John Holt,
Kings Of Tomorrow,
T.S.O.L.,
Flipper,
Neu!,
The Moody Blues,
Grandmaster Flash,
Donny Hathaway,
Sun Ra Arkestra,
Spandau Ballet,
Chrome,
Zero Boys,
Andrew Hill,
Lindisfarne,
Glenn Branca,
Young Marble Giants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Johnny Osbourne,
Gang Gang Dance,
The Residents,
A Certain Ratio,
Bush Tetras,
R.M.O.,
Yusef Lateef,
Pussy Galore,
Wire,
the Normal, the Normal, the Normal, the Normal.
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.