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 Israel and from Woodstock.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Paris and Manila.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 The Cramps to the punk kids.
I played it at CBGB's.
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 Eli Mardock. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Bill Wells,
Idris Muhammad,
Piero Umiliani,
Yazoo,
Dorothy Ashby,
Bob Dylan,
Masters at Work,
Angels of Light & Akron/Family,
Harry Pussy,
MC5,
Larry & the Blue Notes,
cv313,
Pulsallama,
Lindisfarne,
The Happenings,
The Skatalites,
Arab on Radar,
the Association,
Unwound,
The Index,
Unrelated Segments,
Joey Negro,
Dead Boys,
The Vogues,
Flash Fearless,
Bobby Byrd,
Isaac Hayes,
UT,
Barbara Tucker,
The Fall,
B.T. Express,
James White and The Blacks,
Oneida,
Marine Girls,
Wally Richardson,
The Fugs,
Hot Snakes,
Country Teasers,
Au Pairs,
Blancmange,
Justin Hinds & The Dominoes,
Malaria!,
The Modern Lovers,
Warsaw,
Black Sheep,
Avey Tare & Kría Brekkan,
Girls At Our Best!,
Brick,
Graham Central Station,
Althea and Donna,
Thee Headcoats,
Minny Pops,
Sparks,
The Detroit Cobras,
Tears for Fears,
Frankie Knuckles,
Suicide,
New Age Steppers,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.