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 Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1966 to 1970.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Stockholm 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Little Man 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 Neil Young. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal punk 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 a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Popol Vuh,
Ornette Coleman,
the Slits,
Blancmange,
Moss Icon,
Sällskapet,
Au Pairs,
Harry Pussy,
Flamin' Groovies,
The Walker Brothers,
Agitation Free,
Tears for Fears,
The Electric Prunes,
Scott Walker,
The Index,
Donny Hathaway,
The Alarm Clocks,
Bauhaus,
New Age Steppers,
The Dave Clark Five,
The Doors,
Eurythmics,
The Mojo Men,
Massinfluence,
The Pop Group,
Khruangbin,
Scientists,
The Angels of Light,
The Invisible,
Sun Ra,
Little Man,
Supertramp,
Public Image Ltd.,
Television Personalities,
Livin' Joy,
Gastr Del Sol,
Ultravox,
The Divine Comedy,
June Days,
A Flock of Seagulls,
Rufus Thomas,
Swans,
Lebanon Hanover,
Parry Music,
Main Source,
Chrome,
Dennis Brown,
K-Klass,
The Five Americans,
Wire,
The Cure,
Lalann,
Suburban Knight,
E-Dancer,
Reagan Youth,
The J.B.'s,
The Victims,
Nick Fraelich,
The Associates,
Joensuu 1685,
The Sonics,
The Busters, The Busters, The Busters, The Busters.
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.