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 Sri Lanka and from Woodstock.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Houston 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Sunsets and Hearts to the grime kids.
I played it at Trash.
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 Crash Course in Science. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Delta 5,
Quantec,
Visage,
Suburban Knight,
Circle Jerks,
Los Fastidios,
The West Coast Pop Art Experimental Band,
Dawn Penn,
Bauhaus,
Swell Maps,
The Cramps,
Little Man,
Newcleus,
Glambeats Corp.,
The Dave Clark Five,
The Modern Lovers,
Porter Ricks,
The Count Five,
Peter Gordon & Love of Life Orchestra,
cv313,
Jandek,
James Chance & The Contortions,
Scratch Acid,
Jeff Lynne,
Lucky Dragons,
LL Cool J,
Oppenheimer Analysis,
Lalann,
Intrusion,
Jeff Mills,
Thee Headcoats,
Oblivians,
Carl Craig,
Selector Dub Narcotic,
Stiv Bators,
Youth Brigade,
Deepchord,
Skriet,
Camberwell Now,
The Doors,
Ponytail,
Negative Approach,
Agent Orange,
Minny Pops,
Pulsallama,
Urselle,
Dead Boys,
The Black Dice,
Essential Logic,
Deadbeat,
Adolescents,
Blake Baxter,
Kauko Röyhkä ja Narttu,
Metal Thangz,
Eddi Front,
Wings,
Silicon Teens,
The Men They Couldn't Hang,
Rod Modell,
Sixth Finger,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.