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 Sri Lanka and from Bologna.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Toronto and Columbus.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe 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 Spandau Ballet to the jazz kids.
I played it at the Spitz.
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 Frankie Knuckles. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Dead Boys,
Pulsallama,
OOIOO,
Sunsets and Hearts,
Aural Exciters,
Jawbox,
Slick Rick,
Visage,
Fluxion,
Ultravox,
Saccharine Trust,
Sexual Harrassment,
Sam Rivers,
8 Eyed Spy,
Max Romeo,
Sonic Youth,
Hashim,
The Saints,
The Cramps,
Strawberry Alarm Clock,
Tommy Roe,
Nico,
Newcleus,
D'Angelo,
The Martian,
Urselle,
Dawn Penn,
Hot Snakes,
Severed Heads,
Jerry Gold Smith,
Donald Byrd,
Peter and Kerry,
Blake Baxter,
Peter Gordon & Love of Life Orchestra,
The Zeros,
Idris Muhammad,
Chris Corsano,
Archie Shepp,
Joe Finger,
Crispian St. Peters,
Sandy B,
Oblivians,
Avey Tare's Slasher Flicks,
Crispy Ambulance,
Roy Ayers,
Anthony Braxton,
The Wake,
Sun City Girls,
The Vogues,
Vladislav Delay,
Slave,
Pole,
The Alarm Clocks,
Gary Puckett & The Union Gap,
Bobby Hutcherson,
Fad Gadget,
The Fire Engines,
Lungfish,
Sex Pistols,
Patti Smith,
One Last Wish,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.