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 United Kingdom and from Calgary.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Winnipeg 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Liaisons Dangereuses to the punk kids.
I played it at the 40 Watt.
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 Lou Reed. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every DNA 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Interpol,
The Cowsills,
Peter & Gordon,
Saccharine Trust,
Moss Icon,
R.M.O.,
The Fire Engines,
The Real Kids,
The Slackers,
Easy Going,
Teenage Jesus and the Jerks,
Adolescents,
Barclay James Harvest,
David Bowie,
The Dave Clark Five,
Bootsy Collins,
Fela Kuti,
Dual Sessions,
Angry Samoans,
Skarface,
Eurythmics,
Procol Harum,
Anakelly,
Erykah Badu,
Cecil Taylor,
The Young Rascals,
Bob Dylan,
Traffic Nightmare,
Japan,
Scan 7,
Lonnie Liston Smith,
cv313,
Graham Central Station,
Fugazi,
Amon Düül II,
Little Man,
Gregory Isaacs,
Patti Smith,
John Coltrane,
Kaleidoscope,
Panda Bear,
The Evens,
Howard Jones,
DJ Sneak,
the Fania All-Stars,
Excepter,
June of 44,
Niagra,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oblivians,
The Gap Band,
Circle Jerks,
The Vogues,
Idris Muhammad,
Soul II Soul,
Country Joe & The Fish,
DeepChord presents Echospace,
Radiohead,
Agitation Free,
Rufus Thomas,
Eric Copeland,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.