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 Mozambique and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Cairo 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 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 Ossler to the electroclash kids.
I played it at Trash.
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 Lucky Dragons. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Mars,
John Lydon,
Avey Tare's Slasher Flicks,
Ash Ra Tempel,
Tears for Fears,
kango's stein massive,
Letta Mbulu,
Reuben Wilson,
The Red Krayola,
Nils Olav,
KRS-One,
Howard Jones,
Brass Construction,
Public Enemy,
Magma,
Kevin Saunderson,
The Durutti Column,
Selector Dub Narcotic,
Bob Dylan,
Big Daddy Kane,
Harmonia,
Monolake,
Nik Kershaw,
China Crisis,
The Remains,
Max Romeo,
Rhythm & Sound,
Section 25,
Supertramp,
Drexciya,
Liliput,
X-101,
Beasts of Bourbon,
Newcleus,
Lou Christie,
The Invisible,
Erykah Badu,
Jandek,
Notorious BIG live in Amsterdam,
Duran Duran,
Liaisons Dangereuses,
Blancmange,
The Sound,
Fear,
The Sonics,
Cybotron,
Pet Shop Boys,
Wings,
Black Sheep,
Rekid,
Skriet,
The Seeds,
Johnny Clarke,
Eden Ahbez,
Malaria!,
Minnie Riperton,
Idris Muhammad,
Marmalade,
Lebanon Hanover,
Al Stewart,
Danielle Patucci,
La Düsseldorf,
Pharaoh Sanders and the Fire Engines,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.