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 Gabon and from Calgary.
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 1976.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Lou Reed 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 The Invisible to the disco kids.
I played it at CBGB's.
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 Amon Düül. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
The Martian,
Mad Mike,
Chrome,
James Chance & The Contortions,
Rosa Yemen,
Mantronix,
Max Romeo,
Bluetip,
Ornette Coleman,
Q65,
June Days,
Rufus Thomas,
The Motions,
a-ha,
Selector Dub Narcotic,
The Kinks,
The Fall,
Second Layer,
Idris Muhammad,
Shuggie Otis,
Mission of Burma,
Amon Düül II,
Thee Headcoats,
Jandek,
Ronnie Foster,
Monolake,
Bang on a Can All-Stars,
Letta Mbulu,
Chris & Cosey,
Flamin' Groovies,
The Move,
The Residents,
The Raincoats,
Eli Mardock,
Section 25,
Josef K,
Grandmaster Flash and the Furious Five,
Smog,
Ultra Naté,
Lonnie Liston Smith,
Gastr Del Sol,
The Techniques,
Skriet,
The Dead C,
The Star Department,
Easy Going,
Masters at Work,
Sunsets and Hearts,
Pere Ubu,
Crispy Ambulance,
the Germs,
Parry Music,
Qualms,
The Barracudas,
Electric Light Orchestra,
Carl Craig,
Eric Dolphy,
Nas,
Notorious BIG live in Amsterdam,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.