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 Zambia and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Winnipeg and Delhi.
I'm losing my edge to the art-school Delhi 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 oboe 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 Camberwell Now to the funk kids.
I played it at the Crocodile.
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 Make Up. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Dead Boys,
World's Most,
Bronski Beat,
Siglo XX,
Pet Shop Boys,
Television,
Zero Boys,
Alton Ellis,
The United States of America,
Mary Jane Girls,
Glenn Branca,
Accadde A,
Saccharine Trust,
Morten Harket,
Japan,
Thompson Twins,
Mantronix,
Soul Sonic Force,
Spoonie Gee,
The Cramps,
Barclay James Harvest,
Angry Samoans,
Lalann,
The Gun Club,
The Fugs,
Subhumans,
The Velvet Underground,
Pantaleimon,
Bill Near,
Thee Headcoats,
Gary Puckett & The Union Gap,
Oblivians,
Ultravox,
Glambeats Corp.,
Groovy Waters,
Sun Ra Arkestra,
The Selecter,
Agitation Free,
Buzzcocks,
48th St. Collective,
Swell Maps,
Grandmaster Flash,
Shuggie Otis,
Country Joe & The Fish,
Juan Atkins,
Ultra Naté,
Infiniti,
The Blackbyrds,
The Motions,
Joe Smooth,
Crooked Eye,
Wire,
Kaleidoscope,
Terror Squad Feat. Camron,
Sixth Finger,
The Pop Group,
The Litter,
The Angels of Light,
Kango’s Stein Massive,
Hardrive,
Motorama,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.