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 Estonia and from Lille.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Winnipeg.
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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Hoover to the disco kids.
I played it at the Hacienda.
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 Unwound. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The Gap Band,
Howard Jones,
Roy Ayers Ubiquity,
Wire,
The Dave Clark Five,
Outsiders,
Make Up,
Donald Byrd,
Brick,
In Retrospect,
Little Man,
Q and Not U,
Deadbeat,
X-Ray Spex,
The Happenings,
Kauko Röyhkä ja Narttu,
The Standells,
the Association,
Susan Cadogan,
Röyhkä ja Rättö ja Lehtisalo,
Rowland S Howard / Lydia Lunch,
The Music Machine,
Sonny Sharrock,
Mantronix,
Can,
Junior Murvin,
Urselle,
Liaisons Dangereuses,
Jawbox,
Spandau Ballet,
Fugazi,
Radio Birdman,
Skaos,
New Order,
The Slits,
The Smoke,
Vaughan Mason & Crew,
Alison Limerick,
Scrapy,
The American Breed,
Ultra Naté,
Jimmy McGriff,
Pylon,
Franke,
Gerry Rafferty,
The Red Krayola,
Porter Ricks,
The Flesh Eaters,
Hot Snakes,
Sexual Harrassment,
Bizarre Inc.,
The Slackers,
The Count Five,
The Leaves,
London Community Gospel Choir,
Ultimate Spinach,
Liliput,
Lucky Dragons,
Schoolly D,
Selector Dub Narcotic,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.