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 Finland and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1962 to 1970.
I'm losing my edge.
To all the kids in Toronto and Accra.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Tropical Tobacco to the rap kids.
I played it at the Roxy.
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 Faraquet. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Minutemen 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 '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Au Pairs,
Model 500,
Throbbing Gristle,
The Skatalites,
Heaven 17,
Tropical Tobacco,
Silicon Teens,
T. Rex,
Laurel Aitken,
Liaisons Dangereuses,
MDC,
Brothers Johnson,
Red Lorry Yellow Lorry,
Guru Guru,
New Order,
Parry Music,
The Index,
Ludus,
Barrington Levy,
Judy Mowatt,
Shoche,
UT,
Leonard Cohen,
Aswad,
Marvin Gaye,
The Doors,
The Black Dice,
The Peanut Butter Conspiracy,
Patti Smith,
Youth Brigade,
Crooked Eye,
Pole,
Q and Not U,
Pete Rock & C.L. Smooth,
Curtis Mayfield,
Bauhaus,
Boz Scaggs,
Joey Negro,
Ultramagnetic MC's,
The Cosmic Jokers,
The Flesh Eaters,
The Cure,
Tim Buckley,
Ash Ra Tempel,
The Sonics,
Ten City,
Godley & Creme,
Animal Collective,
The Fortunes,
Mantronix,
Girls At Our Best!,
Robert Görl,
Infiniti,
Arab on Radar,
Pierre Henry,
H. Thieme,
the Bar-Kays,
Warsaw,
Dual Sessions,
Mad Mike,
Neil Young,
Fluxion, Fluxion, Fluxion, Fluxion.
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.