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 South Africa and from Copenhagen.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school Tehran 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 The Selecter to the jazz kids.
I played it at the Troubador.
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 Danielle Patucci. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Organ 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 '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Avey Tare & Kría Brekkan,
Black Pus,
Godley & Creme,
Au Pairs,
The Associates,
Yellowson,
Skarface,
Chrome,
Marine Girls,
Youth Brigade,
Curtis Mayfield,
Radiohead,
Connie Case,
Quando Quango,
Agent Orange,
Janne Schatter,
Delta 5,
Parry Music,
John Cale,
Q and Not U,
Larry & the Blue Notes,
Throbbing Gristle,
Lightning Bolt,
Juan Atkins,
8 Eyed Spy,
The Searchers,
Gang Green,
Make Up,
A Flock of Seagulls,
Fugazi,
Stockholm Monsters,
Freddie Wadling,
Heavy D & The Boyz,
Reagan Youth,
Wolf Eyes,
Half Japanese,
The Dave Clark Five,
Rosa Yemen,
MDC,
Traffic Nightmare,
Flash Fearless,
Oneida,
Minutemen,
Delon & Dalcan,
Sugar Minott,
Monolake,
Kool Moe Dee,
Donald Byrd,
Suburban Knight,
Ronnie Foster,
The Techniques,
B.T. Express,
Kas Product,
Essential Logic,
Grey Daturas,
Alphaville,
the Bar-Kays,
Brass Construction,
Porter Ricks,
The Remains,
Frankie Knuckles,
Television Personalities,
Tropical Tobacco,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.