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 Uruguay and from Bremen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Paris.
I'm losing my edge to the art-school Hong Kong 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 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 Eric Copeland to the punk kids.
I played it at the Troubador.
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 Massinfluence. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
48th St. Collective,
JFA,
Slave,
Eurythmics,
Shuggie Otis,
Technova,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Michelle Simonal,
Malaria!,
Judy Mowatt,
Aswad,
Scientists,
Boogie Down Productions,
Cluster,
Funky Four + One,
Q65,
Eddi Front,
The Evens,
Sparks,
David Axelrod,
Magazine,
Bang On A Can,
Camberwell Now,
The Slits,
Dual Sessions,
Basic Channel,
The Misunderstood,
Skriet,
Tropical Tobacco,
Lee Hazlewood,
Niagra,
The Doors,
The Dave Clark Five,
Peter & Gordon,
Gerry Rafferty,
The Star Department,
Bobby Byrd,
Leonard Cohen,
The Sisters of Mercy,
X-101,
Gong,
Traffic Nightmare,
Qualms,
China Crisis,
La Düsseldorf,
The New Christs,
Crooked Eye,
Echospace,
Angry Samoans,
Silicon Teens,
Hoover,
D'Angelo,
James Chance & The Contortions,
Gary Puckett & The Union Gap,
Iggy Pop,
Banda Bassotti,
The Peanut Butter Conspiracy,
The Saints,
The Count Five,
Zapp,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.