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 Russia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Dual Sessions to the disco kids.
I played it at Trash.
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 Ultravox. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Cybotron 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 '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Lightning Bolt,
Minutemen,
Graham Central Station,
B.T. Express,
48th St. Collective,
Ponytail,
Black Sheep,
The Last Poets,
DJ Style,
Throbbing Gristle,
Kings Of Tomorrow,
Soft Machine,
The Motions,
Interpol,
Dead Boys,
Curtis Mayfield,
X-102,
Spoonie Gee,
Crime,
Skarface,
Flamin' Groovies,
The Dirtbombs,
Peter Gordon & Love of Life Orchestra,
Lungfish,
Jandek,
Stockholm Monsters,
Rites of Spring,
Ossler,
Radiopuhelimet,
Fatback Band,
Lakeside,
Deepchord,
8 Eyed Spy,
Jawbox,
Mars,
kango's stein massive,
The Sound,
Avey Tare & Kría Brekkan,
T. Rex,
Kool G Rap & DJ Polo,
The Cosmic Jokers,
Bauhaus,
Roy Ayers Ubiquity,
Cluster,
Colin Newman,
Terror Squad Feat. Camron,
Aswad,
The Vogues,
Nico,
Unwound,
Magazine,
The Dave Clark Five,
Depeche Mode,
The Chocolate Watch Band,
In Retrospect,
Ralphi Rosario,
Bizarre Inc.,
Louis and Bebe Barron,
Kevin Saunderson,
Monolake,
Deakin,
Crispian St. Peters,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.