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 Angola and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Milan and Toronto.
I'm losing my edge to the art-school Spokane 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Girls At Our Best! to the electroclash kids.
I played it at the Astoria.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Robert Hood,
Lou Reed & Metallica,
Drexciya,
Eric B and Rakim,
The Grass Roots,
Aaron Thompson,
Andrew Ashong & Theo Parrish,
Sunsets and Hearts,
Parry Music,
H. Thieme,
Dawn Penn,
Rotary Connection,
X-101,
Accadde A,
Sexual Harrassment,
Andrew Hill,
the Human League,
Y Pants,
Boogie Down Productions,
Arthur Verocai,
Avey Tare's Slasher Flicks,
Hot Snakes,
Delta 5,
Mantronix,
Bobby Byrd,
Boredoms,
Donny Hathaway,
Procol Harum,
Thinking Fellers Union Local 282,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jerry's Kids,
Dark Day,
It's A Beautiful Day,
The Standells,
Peter and Kerry,
Darondo,
Dorothy Ashby,
Roxette,
The Blues Magoos,
Tim Buckley,
Jeff Mills,
Joey Negro,
Justin Hinds & The Dominoes,
John Holt,
the Fania All-Stars,
Howard Jones,
The Move,
Make Up,
Kango’s Stein Massive,
Camron Feat. Jay Z And Juelz,
Funkadelic,
Scan 7,
Eurythmics,
The Gories,
Marmalade,
Dead Boys,
The Fire Engines,
Reagan Youth,
Jandek,
Rufus Thomas,
Youth Brigade,
Tropical Tobacco,
Skaos, Skaos, Skaos, Skaos.
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.