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 Macedonia and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Lille 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 Donald Fagen 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 Morten Harket to the grime kids.
I played it at the 40 Watt.
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 Ituana. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Fluxion 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Amon Düül,
Colin Newman,
Skriet,
Jeru the Damaja,
Agent Orange,
This Heat,
The Move,
Freddie Wadling,
EPMD,
Teenage Jesus and the Jerks,
Marmalade,
The Slackers,
10cc,
Archie Shepp,
Howard Jones,
Notorious BIG live in Amsterdam,
Hot Snakes,
The Dave Clark Five,
Pantytec,
Marcia Griffiths,
The Fuzztones,
Scrapy,
Sun Ra Arkestra,
Grandmaster Flash,
The Divine Comedy,
The Martian,
Kenny Larkin,
The Star Department,
Audionom,
Sällskapet,
The Associates,
Lou Reed,
Ronan,
Oppenheimer Analysis,
Talk Talk,
Mr. Review,
Lou Christie,
The Cowsills,
Lyres,
Michelle Simonal,
Gil Scott Heron,
Erykah Badu,
Royal Trux,
Second Layer,
The West Coast Pop Art Experimental Band,
The Fugs,
Lakeside,
Heaven 17,
Bootsy's Rubber Band,
Bob Dylan,
Symarip,
Dead Boys,
Cymande,
Jandek,
The Saints,
The J.B.'s,
New York Dolls,
Josef K,
The Moleskins,
Kool Moe Dee,
Deutsch Amerikanische Freundschaft,
Monolake, Monolake, Monolake, Monolake.
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.