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 Panama and from Tehran.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Marcia Griffiths to the electroclash 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 Barbara Tucker. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every China Crisis 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a 8 Eyed Spy record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Traffic Nightmare,
Heavy D & The Boyz,
Michelle Simonal,
Pere Ubu,
John Foxx,
Hardrive,
The Velvet Underground,
Masters at Work,
Severed Heads,
Ten City,
Kenny Larkin,
Godley & Creme,
The Tremeloes,
Echospace,
Sound Behaviour,
Agitation Free,
Tropical Tobacco,
The Wake,
The Victims,
Drive Like Jehu,
Glenn Branca,
The Blues Magoos,
Camron Feat. Jay Z And Juelz,
Camouflage,
The Slits,
Gil Scott-Heron and Jamie xx,
Colin Newman,
Terry Callier,
Y Pants,
X-Ray Spex,
Angry Samoans,
Harry Pussy,
The Young Rascals,
Lalann,
The Mummies,
Joensuu 1685,
Kool G Rap & DJ Polo,
Spandau Ballet,
Scratch Acid,
Man Parrish,
Derrick May,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Happenings,
Kaleidoscope,
Delon & Dalcan,
Rhythm & Sound,
Teenage Jesus and the Jerks,
Subhumans,
Q and Not U,
Grandmaster Flash and the Furious Five,
Bootsy's Rubber Band,
MDC,
Cymande,
Blossom Toes,
Rites of Spring,
Flipper,
Johnny Osbourne,
Country Teasers,
Bauhaus,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.