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 Croatia and from Jakarta.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
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 The Litter to the rap 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 Slick Rick. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
John Coltrane,
Can,
Brick,
Matthew Bourne,
David Bowie,
Lou Christie,
Chris Corsano,
Jacques Brel,
Rahsaan Roland Kirk,
Brass Construction,
Eric Copeland,
Ultravox,
Harpers Bizarre,
Sun Ra,
Soft Machine,
The Techniques,
Marmalade,
Negative Approach,
Judy Mowatt,
The Happenings,
the Soft Cell,
Jeff Mills,
Popol Vuh,
The Blackbyrds,
Mantronix,
Circle Jerks,
Sandy B,
Cymande,
John Cale,
Arthur Verocai,
Skriet,
Albert Ayler,
Super Lover Cee & Casanova Rud,
Little Man,
Grandmaster Flash and the Furious Five,
Ornette Coleman,
Radiohead,
Massinfluence,
Rotary Connection,
Althea and Donna,
Television,
The Doobie Brothers,
Morten Harket,
Lee Hazlewood,
The Litter,
Technova,
Crispian St. Peters,
The United States of America,
Malaria!,
Larry & the Blue Notes,
The Sisters of Mercy,
Glenn Branca,
Public Enemy,
Essential Logic,
Groovy Waters,
Bill Near,
The Alarm Clocks,
Joe Smooth,
Minnie Riperton,
New York Dolls,
Suicide,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.