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 Chile and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 The American Breed to the electroclash kids.
I played it at the Hacienda.
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 Roger Hodgson. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Camouflage 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Model 500,
The Moody Blues,
Siouxsie and the Banshees,
The Techniques,
Toni Rubio,
The Divine Comedy,
Lou Christie,
Clear Light,
F. McDonald,
The Star Department,
Tommy Roe,
Richard Hell and the Voidoids,
Minutemen,
Inner City,
Wally Richardson,
The Cowsills,
Gerry Rafferty,
Cecil Taylor,
Moss Icon,
Simply Red,
X-102,
H. Thieme,
John Holt,
Alison Limerick,
The Fire Engines,
Bauhaus,
Pantytec,
John Coltrane,
E-Dancer,
The Grass Roots,
Eric B and Rakim,
PIL,
Kenny Larkin,
Goldenarms,
Todd Terry,
Hardrive,
Amon Düül,
The Remains,
Livin' Joy,
Pete Rock & C.L. Smooth,
Girls At Our Best!,
Roxy Music,
Rod Modell,
Glambeats Corp.,
Swans,
Nick Fraelich,
Depeche Mode,
Pharaoh Sanders and the Fire Engines,
Ash Ra Tempel,
Notorious Big And Bone Thugs,
The Tremeloes,
Cybotron,
Don Cherry,
Japan,
Sam Rivers,
Royal Trux,
Avey Tare's Slasher Flicks,
The Invisible,
Organ,
UT, UT, UT, UT.
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.