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 Cyprus and from Manchester.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Lyon 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 theremin sounds with much patience.
I was there when Lou Reed 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 Saccharine Trust to the electroclash kids.
I played it at the Roxy.
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 The Happenings. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Essential Logic,
ABBA,
Piero Umiliani,
The Fall,
Monks,
New York Dolls,
Echo & the Bunnymen,
Pere Ubu,
Anthony Braxton,
The Cosmic Jokers,
The Mojo Men,
The Martian,
Unrelated Segments,
Dennis Brown,
Joey Negro,
B.T. Express,
Orchestral Manoeuvres in the Dark,
Moss Icon,
Bill Wells,
John Holt,
The Trojans,
ABC,
Ossler,
The Zeros,
Alphaville,
Blancmange,
Aural Exciters,
David Axelrod,
Ajijia Myrayebe,
Glambeats Corp.,
Lou Reed & John Cale,
Warsaw,
The Wake,
Cluster,
Public Image Ltd.,
Arcadia,
The Flesh Eaters,
Electric Light Orchestra,
Model 500,
Public Enemy,
Nick Fraelich,
Dave Gahan,
Lou Christie,
The Motions,
Jandek,
Pierre Henry,
Brothers Johnson,
Al Stewart,
Kaleidoscope,
Supertramp,
X-Ray Spex,
Intrusion,
the Slits,
Mars,
Cecil Taylor,
Chris Corsano,
Eric B and Rakim,
The Walker Brothers,
The Last Poets,
Kango’s Stein Massive,
The Detroit Cobras,
Procol Harum,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.