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 Kyrgyzstan and from Shanghai.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school Accra 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 Rahsaan Roland Kirk to the techno kids.
I played it at the Astoria.
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 Robert Görl. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Siglo XX,
Sixth Finger,
Dave Gahan,
Stereo Dub,
Yellowson,
Excepter,
Black Flag,
Boredoms,
The Pretty Things,
The Zeros,
Rosa Yemen,
Malaria!,
New York Dolls,
These Immortal Souls,
Freddie Wadling,
Grauzone,
The Monochrome Set,
The Electric Prunes,
Spandau Ballet,
The Five Americans,
DeepChord presents Echospace,
Minutemen,
Crispian St. Peters,
Gang Starr,
Charles Mingus,
John Cale,
The Move,
Robert Hood,
The Slits,
Outsiders,
Black Pus,
Fat Boys,
10cc,
Pere Ubu,
Bronski Beat,
Todd Terry,
The Mummies,
Gil Scott Heron,
Big Daddy Kane,
The Cowsills,
The Blackbyrds,
The Victims,
Terrestrial Tones,
Gastr Del Sol,
The Men They Couldn't Hang,
The Walker Brothers,
Fear,
The Human League,
Echo & the Bunnymen,
Max Romeo,
Deutsch Amerikanische Freundschaft,
Fluxion,
Todd Rundgren,
Main Source,
ABC,
Magazine,
MC5,
the Bar-Kays,
David McCallum,
Soul Sonic Force,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.