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 Senegal and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer 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 Laurel Aitken to the punk 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 Harmonia. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Fort Wilson Riot,
The Birthday Party,
The Sonics,
Drive Like Jehu,
The Fire Engines,
The Doors,
The Electric Prunes,
Joyce Sims,
Lou Christie,
Sun Ra,
Lafayette Afro Rock Band,
JFA,
Los Fastidios,
Barry Ungar,
The Five Americans,
Ossler,
Technova,
The Fugs,
Section 25,
The Peanut Butter Conspiracy,
Surgeon,
48th St. Collective,
Toni Rubio,
Erykah Badu,
The Techniques,
Steve Hackett,
Q and Not U,
Masters at Work,
June Days,
The Pretty Things,
The Remains,
Pantytec,
The Smoke,
John Foxx,
Jesper Dahlback,
DeepChord presents Echospace,
Louis and Bebe Barron,
Janne Schatter,
Faust,
MDC,
the Fania All-Stars,
The Motions,
DNA,
The Searchers,
Sarah Menescal,
Deutsch Amerikanische Freundschaft,
Altered Images,
kango's stein massive,
Newcleus,
Soft Machine,
Strawberry Alarm Clock,
Soft Cell,
Bobby Hutcherson,
Pere Ubu,
The Raincoats,
Tim Buckley,
Hoover,
Ken Boothe,
Minor Threat,
Man Eating Sloth,
the Soft Cell,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.