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 Burundi and from New York.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Rhythm & Sound to the jazz kids.
I played it at the Crocodile.
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 Arthur Verocai. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Rekid,
Andrew Ashong & Theo Parrish,
Severed Heads,
Malaria!,
Stereo Dub,
Sparks,
Theoretical Girls,
Gang Green,
Supertramp,
Robert Görl,
Technova,
Scratch Acid,
PIL,
Icehouse,
Glambeats Corp.,
Cluster,
Sexual Harrassment,
Minny Pops,
Hardrive,
Grauzone,
Los Fastidios,
Neil Young & Crazy Horse,
Marmalade,
These Immortal Souls,
Radiopuhelimet,
Section 25,
Grey Daturas,
Aural Exciters,
The Flesh Eaters,
Henry Cow,
Bush Tetras,
Barclay James Harvest,
The Chocolate Watch Band,
CMW,
Easy Going,
The Toasters,
June of 44,
The Residents,
The Vogues,
Tears for Fears,
Symarip,
Jawbox,
Cal Tjader,
Youth Brigade,
Crispian St. Peters,
Hashim,
Swans,
Lebanon Hanover,
Reagan Youth,
the Bar-Kays,
Khruangbin,
Davy DMX,
Siglo XX,
Deepchord,
Franke,
Rhythm & Sound,
Popol Vuh,
Country Joe & The Fish,
Todd Rundgren,
Johnny Clarke,
Pussy Galore,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.