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 Kiribati and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Madrid 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 theremin 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 X-101 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 The Names. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Kaleidoscope,
Sad Lovers and Giants,
Visage,
Morten Harket,
Banda Bassotti,
Tears for Fears,
Orchestral Manoeuvres in the Dark,
Grandmaster Flash and the Furious Five,
Hoover,
Joey Negro,
Cecil Taylor,
CMW,
H. Thieme,
The Seeds,
Jimmy McGriff,
Shoche,
Nirvana,
the Swans,
Black Moon,
The Neon Judgement,
Hardrive,
Ice-T,
Sun Ra,
The Skatalites,
Minor Threat,
Soft Cell,
10cc,
Infiniti,
kango's stein massive,
Agitation Free,
The Star Department,
Aural Exciters,
The Vogues,
Royal Trux,
Boredoms,
Eric Copeland,
Hot Snakes,
The Gun Club,
Ken Boothe,
Half Japanese,
Ash Ra Tempel,
The Pop Group,
World's Most,
Anthony Braxton,
Lou Reed,
DJ Style,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The United States of America,
Crash Course in Science,
Danielle Patucci,
Stereo Dub,
Yazoo,
The Fugs,
It's A Beautiful Day,
The Cure,
Erykah Badu,
Essential Logic,
Pet Shop Boys,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.