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 Bangladesh and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Drexciya to the dance kids.
I played it at the Crocodile.
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 Ronan. All the underground hits.
All JFA tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Fort Wilson Riot,
Godley & Creme,
The West Coast Pop Art Experimental Band,
Porter Ricks,
Model 500,
The Wake,
Ten City,
Andrew Hill,
Deutsch Amerikanische Freundschaft,
The Velvet Underground,
Soft Cell,
Grey Daturas,
The Real Kids,
The United States of America,
Rufus Thomas,
Black Moon,
Liliput,
Marshall Jefferson,
Crispian St. Peters,
The Residents,
World's Most,
Public Enemy,
Dave Gahan,
Albert Ayler,
Index,
Flipper,
Bluetip,
The Moody Blues,
Super Lover Cee & Casanova Rud,
Interpol,
Teenage Jesus and the Jerks,
Amon Düül II,
the Germs,
Peter Gordon & Love of Life Orchestra,
Howard Jones,
Youth Brigade,
Minutemen,
Sexual Harrassment,
Frankie Knuckles,
The Blackbyrds,
Bootsy Collins,
Silicon Teens,
The Cramps,
Avey Tare's Slasher Flicks,
The Moleskins,
Kerri Chandler,
Amazonics,
Ralphi Rosario,
Chrome,
Bauhaus,
Richard Hell and the Voidoids,
Lee Hazlewood,
Rhythim Is Rhythim,
L. Decosne,
Brand Nubian,
Fugazi,
Rakim,
Pantytec,
U.S. Maple,
Scott Walker + Sunn O))),
Erykah Badu,
Dark Day, Dark Day, Dark Day, Dark Day.
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.