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 Zimbabwe and from Portland.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Spokane and Spokane.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Desert Stars to the funk kids.
I played it at Cafe Wha.
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 The Detroit Cobras. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Traffic Nightmare,
Rhythm & Sound,
Thompson Twins,
Justin Hinds & The Dominoes,
Stiv Bators,
Dr. Dre and Snoop Doggy Dog,
the Fania All-Stars,
Circle Jerks,
Reuben Wilson,
Siouxsie and the Banshees,
Pantaleimon,
Peter and Kerry,
Organ,
Warren Ellis,
The Wake,
Marvin Gaye,
Fat Boys,
Liliput,
T.S.O.L.,
Q and Not U,
Ralphi Rosario,
Kerri Chandler,
AZ,
The Vogues,
Sun City Girls,
The Victims,
The Buckinghams,
Kool G Rap & DJ Polo,
KRS-One,
Soulsonic Force,
Funky Four + One,
Sarah Menescal,
It's A Beautiful Day,
Chris & Cosey,
Babytalk,
Mark Hollis,
Orchestral Manoeuvres in the Dark,
New Order,
The Dead C,
Quando Quango,
Joey Negro,
Pharaoh Sanders and the Fire Engines,
Isaac Hayes,
JFA,
Flash Fearless,
The Jesus and Mary Chain,
The Music Machine,
Bootsy's Rubber Band,
The Mojo Men,
Fad Gadget,
Scott Walker,
Eli Mardock,
Lizzy Mercier Descloux,
Sandy B,
Drexciya,
Laurel Aitken,
DJ Sneak,
Bang On A Can,
China Crisis,
Roxy Music,
Bobby Byrd,
MC5, MC5, MC5, MC5.
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.