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 St Lucia and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1964 to 1977.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Chris & Cosey to the rap kids.
I played it at the Roxy.
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 Average White Band. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Eli Mardock,
Joe Finger,
Hasil Adkins,
The Grass Roots,
Danielle Patucci,
Avey Tare's Slasher Flicks,
The Blackbyrds,
The Young Rascals,
The Moody Blues,
The Fuzztones,
The Music Machine,
AZ,
Arab on Radar,
Pierre Henry,
Ronan,
Skarface,
The Skatalites,
Henry Cow,
The Slits,
Echospace,
Sandy B,
Lizzy Mercier Descloux,
David Axelrod,
Bluetip,
Half Japanese,
Public Enemy,
Sun Ra,
The Kinks,
It's A Beautiful Day,
This Heat,
The New Christs,
Motorama,
Loose Ends,
Tears for Fears,
Das Ding,
KRS-One,
Yazoo,
Malaria!,
Neu!,
Sällskapet,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Slave,
The Techniques,
Pere Ubu,
Robert Hood,
Angry Samoans,
Andrew Ashong & Theo Parrish,
Pete Rock & C.L. Smooth,
MC5,
Laurel Aitken,
Moss Icon,
cv313,
The Five Americans,
Public Image Ltd.,
Scott Walker,
Don Cherry,
Country Teasers,
Nirvana,
Magma,
The Real Kids,
June Days,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.