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 Benin and from Bologna.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Calgary and Johannesburg.
I'm losing my edge to the art-school Madrid 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Jacques Brel to the grunge 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 Public Image Ltd.. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Marc Almond 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Gabor Szabo,
Sly & The Family Stone,
Alton Ellis,
Unwound,
The Happenings,
Amon Düül,
Los Fastidios,
Bobby Womack,
Peter & Gordon,
Matthew Halsall,
The Mighty Diamonds,
Pet Shop Boys,
Reuben Wilson,
Laurel Aitken,
Junior Murvin,
Nils Olav,
David Bowie,
Scion,
The Cramps,
Rhythm & Sound,
Adolescents,
Rapeman,
Richard Hell and the Voidoids,
Lalann,
Bobby Hutcherson,
The Associates,
Notorious BIG live in Amsterdam,
Visionaries,LMNO, T- Love & Iriscience,
Easy Going,
Liaisons Dangereuses,
Cabaret Voltaire,
the Swans,
Skriet,
Maleditus Sound,
June Days,
Ohio Players,
Marc Romboy vs. Booka Shade,
Kevin Saunderson,
Amazonics,
Guru Guru,
Heaven 17,
Pylon,
Fear,
Faraquet,
DNA,
Max Romeo,
Lou Reed,
Echospace,
Rod Modell,
Johnny Clarke,
Minor Threat,
Rufus Thomas,
The Toasters,
The Wake,
Danielle Patucci,
Thompson Twins,
Patti Smith,
Mars, Mars, Mars, Mars.
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.