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 Iceland and from Toronto.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Halifax 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Jesper Dahlback to the grunge kids.
I played it at the 40 Watt.
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 Hoover. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Bizarre Inc.,
Wighnomy Brothers & Robag Wruhme,
Judy Mowatt,
Don Cherry,
Camberwell Now,
Terror Squad Feat. Camron,
The Index,
Fat Boys,
Beasts of Bourbon,
Zapp,
Popol Vuh,
Jacques Brel,
Dorothy Ashby,
Ralphi Rosario,
Accadde A,
The Red Krayola,
Teenage Jesus and the Jerks,
Minny Pops,
the Bar-Kays,
PIL,
Patti Smith,
Circle Jerks,
Lonnie Liston Smith,
Ohio Players,
The Neon Judgement,
The Kinks,
Jimmy McGriff,
Rakim,
Boredoms,
Dennis Brown,
Cybotron,
Josef K,
UT,
Scott Walker + Sunn O))),
Joey Negro,
Bush Tetras,
Absolute Body Control,
Sam Rivers,
Wings,
48th St. Collective,
Tom Boy,
K-Klass,
Swell Maps,
The Buckinghams,
Notorious Big And Bone Thugs,
Bang On A Can,
Dual Sessions,
Motorama,
Model 500,
The Martian,
Jandek,
Quando Quango,
Loose Ends,
The Young Rascals,
Section 25,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
Adolescents,
Peter Gordon & Love of Life Orchestra,
Fatback Band,
EPMD,
Skriet,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.