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 Liechtenstein and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Aural Exciters to the electroclash kids.
I played it at the Crocodile.
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 Bluetip. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Young Marble Giants,
Niagra,
Quantec,
Black Bananas,
Rhythim Is Rhythim,
Chris & Cosey,
Schoolly D,
Negative Approach,
Silicon Teens,
Lou Reed & John Cale,
Liaisons Dangereuses,
Country Joe & The Fish,
Nick Fraelich,
Y Pants,
Andrew Ashong & Theo Parrish,
Ultra Naté,
Peter & Gordon,
The Standells,
Skaos,
Essential Logic,
Kauko Röyhkä ja Narttu,
Fluxion,
New York Dolls,
A Certain Ratio,
Echospace,
Ultramagnetic MC's,
The Selecter,
Deadbeat,
Eric B and Rakim,
The Golliwogs,
Cheater Slicks,
The Victims,
X-Ray Spex,
The Kinks,
The Five Americans,
The Searchers,
Adolescents,
Tomorrow,
Ronnie Foster,
Interpol,
Matthew Halsall,
Bobby Womack,
Moss Icon,
Siglo XX,
Rhythm & Sound,
The Star Department,
Animal Collective,
the Swans,
Porter Ricks,
Kurtis Blow,
H. Thieme,
The Alarm Clocks,
Henry Cow,
Avey Tare & Kría Brekkan,
Lonnie Liston Smith,
Mad Mike,
Joy Division,
Röyhkä ja Rättö ja Lehtisalo,
The Associates,
The Saints,
Skarface,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.