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 Panama and from Woodstock.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Bremen and Lille.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Larry & the Blue Notes to the rap kids.
I played it at CBGB's.
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 Eyeless In Gaza. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every The Dead C 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
The Dirtbombs,
Joensuu 1685,
Mandrill,
Joy Division,
Audionom,
Tubeway Army,
Negative Approach,
Thompson Twins,
Kango’s Stein Massive,
Gang of Four,
Janne Schatter,
Robert Hood,
Rhythim Is Rhythim,
Liaisons Dangereuses,
Skarface,
The Five Americans,
Fatback Band,
The Men They Couldn't Hang,
The Smiths,
The Alarm Clocks,
The Martian,
Jawbox,
Parry Music,
Agitation Free,
Alison Limerick,
Andrew Ashong & Theo Parrish,
Young Marble Giants,
Bob Dylan,
Jerry Gold Smith,
Flash Fearless,
Los Fastidios,
Bauhaus,
The Red Krayola,
The Searchers,
Robert Wyatt,
DNA,
Glenn Branca,
Lindisfarne,
The Beau Brummels,
Barry Ungar,
Masters at Work,
Nation of Ulysses,
The Cure,
Quando Quango,
World's Most,
Nick Fraelich,
The Victims,
Ultramagnetic MC's,
Mary Jane Girls,
Tropical Tobacco,
Ornette Coleman,
Pharaoh Sanders and the Fire Engines,
Andrew Hill,
Boz Scaggs,
T.S.O.L.,
T. Rex,
Boredoms,
Easy Going,
Angels of Light & Akron/Family,
Darondo,
Arthur Verocai,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.