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 Malaysia and from Salvador.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Althea and Donna to the jazz kids.
I played it at the Roxy.
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 Swans. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Barclay James Harvest 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Andrew Ashong & Theo Parrish,
New York Dolls,
Grandmaster Flash and the Furious Five,
Scratch Acid,
The Tremeloes,
Popol Vuh,
Spandau Ballet,
Little Man,
World's Most,
Grauzone,
Mo-Dettes,
The Music Machine,
DeepChord presents Echospace,
Marcia Griffiths,
Johnny Osbourne,
Public Enemy,
James Chance & The Contortions,
Subhumans,
Jandek,
Qualms,
Average White Band,
Bad Manners,
Brick,
Arthur Verocai,
Andrew Hill,
The Detroit Cobras,
Avey Tare,
Kango’s Stein Massive,
Dave Gahan,
KRS-One,
Make Up,
Lucky Dragons,
Gang Green,
Negative Approach,
a-ha,
Terrestrial Tones,
the Soft Cell,
Dead Boys,
The Mojo Men,
Henry Cow,
Suburban Knight,
Laurel Aitken,
Eric B and Rakim,
Ten City,
Rotary Connection,
8 Eyed Spy,
Steve Hackett,
Soulsonic Force,
Lou Reed & John Cale,
Theoretical Girls,
the Germs,
Lee Hazlewood,
The Zeros,
Kurtis Blow,
Pharoah Sanders,
Tears for Fears,
The Count Five,
Nation of Ulysses,
Neil Young, Neil Young, Neil Young, Neil Young.
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.