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 Argentina and from Portland.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum 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 Electric Prunes to the electroclash 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 Yaz. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Gil Scott-Heron and Jamie xx,
The Neon Judgement,
Negative Approach,
Dave Gahan,
Aural Exciters,
Marc Romboy vs. Booka Shade,
Selector Dub Narcotic,
R.M.O.,
Moby Grape,
Fatback Band,
Skriet,
Röyhkä ja Rättö ja Lehtisalo,
The Alarm Clocks,
the Sonics,
Frankie Knuckles,
Supertramp,
cv313,
The Names,
Gastr Del Sol,
Matthew Bourne,
Monolake,
The Residents,
Rowland S Howard / Lydia Lunch,
Danielle Patucci,
The Sound,
Scan 7,
Al Stewart,
Sun Ra,
La Düsseldorf,
the Normal,
Saccharine Trust,
Jeff Mills,
Ronnie Foster,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Intrusion,
The Pop Group,
Silicon Teens,
Heavy D & The Boyz,
Morten Harket,
Simply Red,
Minny Pops,
Pylon,
U.S. Maple,
Kevin Saunderson,
The Index,
Johnny Clarke,
Scientists,
Boogie Down Productions,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Con Funk Shun,
Bill Wells,
Lafayette Afro Rock Band,
The Sonics,
Massinfluence,
Kaleidoscope,
Shoche,
Howard Jones,
Bronski Beat,
The Real Kids,
Symarip,
the Human League, the Human League, the Human League, the Human League.
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.