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 Iran and from Delhi.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Heavy D & The Boyz to the crunk kids.
I played it at the Hacienda.
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 The Modern Lovers. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Ash Ra Tempel,
Steve Hackett,
Robert Görl,
Hot Snakes,
Japan,
Procol Harum,
Orchestral Manoeuvres in the Dark,
The Techniques,
Roxette,
Bobby Byrd,
One Last Wish,
Archie Shepp,
Gil Scott-Heron and Jamie xx,
Rowland S Howard / Lydia Lunch,
Bobby Hutcherson,
The Angels of Light,
Heaven 17,
Slave,
Camron Feat. Jay Z And Juelz,
The Standells,
Crime,
The Music Machine,
Stereo Dub,
The Detroit Cobras,
Selector Dub Narcotic,
The Cowsills,
Kevin Saunderson,
Popol Vuh,
The Smoke,
Masters at Work,
The Litter,
The Fuzztones,
The Residents,
Duran Duran,
Television,
Delon & Dalcan,
Connie Case,
Mr. Review,
The Jesus and Mary Chain,
Mandrill,
Amon Düül,
U.S. Maple,
Make Up,
Gichy Dan,
Eric B and Rakim,
Arthur Verocai,
Neil Young,
Scratch Acid,
Bobby Sherman,
Robert Hood,
Yellowson,
The New Christs,
Siouxsie and the Banshees,
Babytalk,
Warsaw,
Saccharine Trust,
Bad Manners,
Aural Exciters,
The Fugs,
Lyres,
Scion, Scion, Scion, Scion.
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.