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 Hungary and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when David Bowie 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 Count Five to the rap kids.
I played it at the Astoria.
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 Cluster. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Bobby Womack,
Al Stewart,
Matthew Bourne,
Mad Mike,
Bootsy Collins,
Section 25,
Isaac Hayes,
The Remains,
H. Thieme,
Funkadelic,
Traffic Nightmare,
Popol Vuh,
Index,
Swans,
Mantronix,
Buzzcocks,
James Chance & The Contortions,
Nick Fraelich,
Leonard Cohen,
Interpol,
Con Funk Shun,
Japan,
Eric B and Rakim,
Ultravox,
Talk Talk,
Motorama,
The Residents,
The Litter,
ABC,
Sällskapet,
Pierre Henry,
Black Moon,
The Doors,
Idris Muhammad,
The Velvet Underground,
Lightning Bolt,
Jesper Dahlback,
Dual Sessions,
Anakelly,
X-101,
New York Dolls,
The Seeds,
Chrome,
Flipper,
8 Eyed Spy,
Crash Course in Science,
Lalo Schifrin,
Slick Rick,
Sonic Youth,
Ice-T,
The West Coast Pop Art Experimental Band,
Marvin Gaye,
Qualms,
David Axelrod,
Sixth Finger,
Von Mondo,
Eve St. Jones,
Little Man,
Gang Gang Dance,
Ajijia Myrayebe,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.