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 Belgium and from Manchester.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Bremen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Eyeless In Gaza to the funk kids.
I played it at the Troubador.
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 Country Joe & The Fish. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
Frankie Knuckles,
Faust,
Half Japanese,
The Vogues,
Danielle Patucci,
Qualms,
China Crisis,
Kurtis Blow,
The Gun Club,
Chris Corsano,
Niagra,
Khruangbin,
The Fugs,
Cheater Slicks,
Minutemen,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Bar-Kays,
Gang Gang Dance,
Mo-Dettes,
The Red Krayola,
Sparks,
The Seeds,
Super Lover Cee & Casanova Rud,
Gil Scott Heron,
Urselle,
Masters at Work,
Mars,
The Mojo Men,
Orchestral Manoeuvres in the Dark,
Ronan,
Flipper,
Gastr Del Sol,
Nils Olav,
Graham Central Station,
Grandmaster Flash and the Furious Five,
Throbbing Gristle,
the Association,
Jesper Dahlback,
Thee Headcoats,
MC5,
Minor Threat,
Roy Ayers,
Bobby Byrd,
U.S. Maple,
James Chance & The Contortions,
Fluxion,
Whodini,
London Community Gospel Choir,
The Happenings,
Wings,
The Techniques,
Bobby Hutcherson,
Lou Christie,
Dorothy Ashby,
A Certain Ratio,
Bootsy's Rubber Band,
Q and Not U,
Avey Tare,
Patti Smith,
Curtis Mayfield,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.