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 China and from Seoul.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Altered Images to the techno kids.
I played it at Cafe Wha.
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 Can. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Moebius 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
Scratch Acid,
Neu!,
Scan 7,
Aaron Thompson,
Cabaret Voltaire,
Sight & Sound,
The Electric Prunes,
Sex Pistols,
Brick,
Byron Stingily,
Alison Limerick,
Kerrie Biddell,
Gregory Isaacs,
Half Japanese,
Aswad,
Unrelated Segments,
Jandek,
The United States of America,
The Standells,
Kerri Chandler,
Yaz,
Jeff Lynne,
The Blackbyrds,
The Selecter,
Can,
Soft Machine,
Zapp,
Rahsaan Roland Kirk,
Soft Cell,
Franke,
F. McDonald,
Cluster,
Strawberry Alarm Clock,
Minutemen,
Camouflage,
Visionaries,LMNO, T- Love & Iriscience,
Nirvana,
Groovy Waters,
The Mighty Diamonds,
Popol Vuh,
E-Dancer,
Fear,
Wings,
Sugar Minott,
Pantaleimon,
Gichy Dan,
MC5,
Carl Craig,
The Searchers,
Deakin,
Kevin Saunderson,
The Human League,
Eli Mardock,
Eden Ahbez,
The Invisible,
Ice-T,
Maleditus Sound,
Rowland S Howard / Lydia Lunch,
Rufus Thomas,
Ponytail, Ponytail, Ponytail, Ponytail.
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.