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 Cuba and from Woodstock.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Be Bop Deluxe to the grunge kids.
I played it at the 40 Watt.
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 Camberwell Now. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Ash Ra Tempel,
Alton Ellis,
Dennis Brown,
Skriet,
The Mummies,
Joensuu 1685,
Marshall Jefferson,
The Moleskins,
Tropical Tobacco,
a-ha,
Eden Ahbez,
The Moody Blues,
The Vogues,
Soul II Soul,
Underground Resistance,
Television Personalities,
In Retrospect,
Jacques Brel,
Amazonics,
Section 25,
Depeche Mode,
The West Coast Pop Art Experimental Band,
Strawberry Alarm Clock,
Idris Muhammad,
Malaria!,
Vladislav Delay,
Radiopuhelimet,
Sly & The Family Stone,
Pharaoh Sanders and the Fire Engines,
Teenage Jesus and the Jerks,
Nation of Ulysses,
Fugazi,
The Slackers,
Zero Boys,
Kool G Rap & DJ Polo,
Blossom Toes,
Lindisfarne,
Outsiders,
Ohio Players,
Soft Cell,
Motorama,
Sonny Sharrock,
Joey Negro,
Freddie Wadling,
Joyce Sims,
Bobby Hutcherson,
Big Daddy Kane,
Average White Band,
Tomorrow,
The United States of America,
Dave Gahan,
David Axelrod,
Monks,
Donny Hathaway,
Stiv Bators,
Gang Starr,
Livin' Joy,
Glambeats Corp.,
June of 44,
Fear,
Arcadia,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.