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 Belarus and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Sao Paulo.
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 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 Robert Palmer 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 Bad Manners to the funk 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 Tommy Roe. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
The Durutti Column,
Stockholm Monsters,
Ohio Players,
DeepChord presents Echospace,
The Barracudas,
Swans,
Sight & Sound,
Amon Düül,
Public Enemy,
The Dirtbombs,
Skaos,
Yellowson,
Toni Rubio,
The Kinks,
Ten City,
James Chance & The Contortions,
Mr. Review,
Quantec,
Intrusion,
Little Man,
Super Lover Cee & Casanova Rud,
The Slackers,
Mo-Dettes,
Bang On A Can,
Oblivians,
Bootsy's Rubber Band,
Jeff Mills,
Los Fastidios,
Banda Bassotti,
The Vogues,
Ultravox,
Model 500,
Sound Behaviour,
X-Ray Spex,
Bill Wells,
Alice Coltrane,
Andrew Hill,
Soulsonic Force,
Major Organ And The Adding Machine,
Matthew Bourne,
The Buckinghams,
John Holt,
Lungfish,
The Martian,
Masters at Work,
Monolake,
Henry Cow,
Red Lorry Yellow Lorry,
Scion,
Althea and Donna,
New Age Steppers,
Tommy Roe,
Altered Images,
Panda Bear,
Animal Collective,
Pantytec,
Mad Mike,
Justin Hinds & The Dominoes,
Dual Sessions,
Pere Ubu,
Girls At Our Best!,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.