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 Liechtenstein and from Toronto.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Houston 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 marimba sounds with much patience.
I was there when Lou Reed 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 Royal Trux to the grime 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 Joe Finger. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Boogie Down Productions 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
the Bar-Kays,
Beasts of Bourbon,
Magazine,
Visionaries,LMNO, T- Love & Iriscience,
Grandmaster Flash and the Furious Five,
Kayak,
Gary Puckett & The Union Gap,
Chrome,
Ralphi Rosario,
Stiv Bators,
Selector Dub Narcotic,
Minutemen,
A Certain Ratio,
Spandau Ballet,
The Cowsills,
the Slits,
Isaac Hayes,
Metal Thangz,
Babytalk,
Agitation Free,
Marc Almond,
cv313,
The Leaves,
Bang On A Can,
Brick,
Aural Exciters,
Wings,
Nas,
Bauhaus,
Todd Rundgren,
Oppenheimer Analysis,
Zero Boys,
The Moody Blues,
Dave Gahan,
Joensuu 1685,
James White and The Blacks,
The Grass Roots,
Man Parrish,
Soft Cell,
Robert Hood,
Reuben Wilson,
Flash Fearless,
Von Mondo,
Dark Day,
Neu!,
48th St. Collective,
Yazoo,
Television,
Kool G Rap & DJ Polo,
The Saints,
Tears for Fears,
Avey Tare & Kría Brekkan,
Black Sheep,
Rowland S Howard / Lydia Lunch,
Donald Byrd,
Eddi Front,
CMW,
Matthew Bourne,
The Pretty Things,
Yellowson,
The Gladiators,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.