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 Mexico and from Johannesburg.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 DeepChord presents Echospace to the grime 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 Kaleidoscope. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Girls At Our Best!,
Kango’s Stein Massive,
Lebanon Hanover,
Lyres,
Fugazi,
R.M.O.,
The Smoke,
Justin Hinds & The Dominoes,
Cal Tjader,
Scratch Acid,
Art Ensemble Of Chicago,
Boogie Down Productions,
Aural Exciters,
Avey Tare's Slasher Flicks,
Big Daddy Kane,
The Slits,
Crispy Ambulance,
Country Joe & The Fish,
Lucky Dragons,
Blancmange,
Section 25,
The Toasters,
Circle Jerks,
Sparks,
Stiv Bators,
UT,
Anthony Braxton,
OOIOO,
These Immortal Souls,
Avey Tare,
Scientists,
Angry Samoans,
Lou Reed,
Fluxion,
Newcleus,
48th St. Collective,
CMW,
De La Soul & Jungle Brothers,
Davy DMX,
Godley & Creme,
Captain Beefheart & His Magic Band,
Porter Ricks,
Spoonie Gee,
Judy Mowatt,
Matthew Halsall,
Oppenheimer Analysis,
Lou Reed & Metallica,
The Blues Magoos,
Bobby Womack,
Parry Music,
Fela Kuti,
The United States of America,
The Cosmic Jokers,
Connie Case,
Skriet,
Siouxsie and the Banshees,
Electric Prunes,
the Association,
Al Stewart,
Barry Ungar,
The Selecter,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.